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CONTENTS 


The  Use  of  Lantern  Slides  in  Teaching 
Traffic  Safety 

An  Evaluation  of  Motion  Picture  Films  for 
Classroom  Use  in  Biology 

Some  Common  Causes  of  Damage 
to  Slides  and  Films 

Film  Production  in  the  Educational  Field 


Single      Copies      25c 
•  $2.00    a    Year  • 


JANUARY 


1936 


•.."r:  •••:      ■••  .'.  •••2 


'    **    * 


Schools/'fioUeqes  and  Churches 


Equipped  with 


TRADE  MARK   REC'O. 


PROJECTORS 

Secure  Professional  Sound  and 

Visual  Projection 


All  <3fe^^^r  Projectors  are  Made 
to  One  High  Standard 

The  products  of  our  company  are  used  in  thousands 
of  theatres  and  by  public  and  private  institutions 
throughout  the  world  requiring  superior  results.  Pro- 
fessional sound  and  visual  projection  demands  a 
thorough  understanding  of  materials  and  precision 
workmanship.  Every  part  manufactured  by  us  for 
our  35  mm.  projectors  is  made  to  meet  the  highest 
professional  requirements.    ^»ri#dic5.i 

Only  Manufacturers  in  the  World  Making  a  Complete  Line  of  35  nnm.  Projectors 

INTERNATIONAL  PROJECTOR  CORPORATION 

88-96  GOLD  STREET  Mr     JO    'Jf  ^^"^  ^^^^'  ^-  ^^ 


Teacher's  Litrary 


December,  1936 


Page  327 


ndex  to  Volume  XV  (1936) 


FORMAL  ARTICLES 

{Arrfiii'iril  Al/ilifih  iiralhf   by  Authors) 

No.      Page 

Anderson,   C.   J.,    Some    Unsolved    Problems    in   the    Develop- 
ment  of   Visual   Education Mar.        73 

Auffhinbaugk,    B.    A.,    Some    Common    Causes   of    Damage    to 

Slides   and   Films    Jan.         10 

Baker,  ilrlhur  O.,  The  Jones  Rotary  System  of  Instruction.  .Apr.      107 
BeltH,  Kjiimell  Albrrl,  Vi.'-ual  Aids  in   Itemedial  Reading....  108 

BosUy,  Donald  It.,  Tlie  Opaque  Projector  Applied  to  Written 

Composition   Work    Feb.         42 

Bryan.  Arthur  11.,  Student  Choice  of  Methods  of  Instruction 

in    Biology     Oct.       243 

Burdick,  U.  O.,  Increasing  the  Use  of  Film  Slides Sept.      20B 

CoHirr,    Bobert    Jr.,    "The    Rebel    Rangers"    on    School    Jour- 
neys     May       140 

Dale,    kdiiar.    The    .-Vmerican    Film    Institute Mar.         79 

DeValda,  F.   IV.,  Visual  Education  "Gets  Going"  in  England. Nov.       276 
Doaiic,   boiiold   v.,    What    Makes   a   (Jood   Educational   Film? 
(IJ    Summary    of    Results    of     Experimental    Studies    of 

Educational   Motion   Pictures    Sept.      203 

(II)    Criticisms    of    Educational    Films Oct.       239 

(III)    An  Analysis  of  the  Choices  of  Teachers Nov.      271 

(IV)    Check  List  for  Evaluation  of  Educational  Films ...  Dec.       305 
Dunn,  Fannie   W.,  and  Schneider,  Etta,  Practices  in  City  Ad- 
ministration of  Visual  PMucation Nov.  269,  Dec.       301 

Gramet,     Charles    A.,    Methodology    of    the    Motion    Picture 

Lesson   Dec.       304 

Greene,    Wesley,   Foreign   Films  for    Educational   Institutions 

Sept.    211,    Oct.       246 

Gregg,  Russell  T..  Experiences  with  a  State  Cooperative  Film 

Library     Feb.  39 

Halsey,  Joseph  II.,  An  Experiment  in  Geography  Teaching.  .  May      137 
Hamilton.    IT.    J.,    Administrative    Problems    in    Visual    Edu- 
cation      Sept.      208 

Uaitsen,  J.  E.,  The  Silent  Film  in  Teaching   (St.  Louis  Sym- 
posium)     Apr.      Ill 

Hinchley,  L.  C,  An  Evaluation  of  Motion  Picture  Films  for 

Classroom  Use  in  Biology    Jan.  8 

Hoban,  Charles  F.,  Jr.,  The  Place  and  Values  of  Sound  Pic- 
tures in  Teaching   (St.   Louis  Symposium) Apr.      113 

Eooser,  II.  L.,  Suggestions  on  the  Care  of  16mm  Film  and 

Projectors    June      17.t 

Visual    Instruction — -Iowa    State   College Oct.       241 

Krows,  Arthur  Edwin,  A  Quarter-Century  of  Non-Theatrical 

Films     June      169 

MacUarg,  John  B..  Visual  Education  at   Lawrence  College.  .  Nov.       273 

HcClusky,  F.  Dean,  What  Next  in  Visual  Education? Mar.        84 

Noble  Lorraine,  Distribution — An  Aid  to  Visual  Aids June      177 

Perrin.  H.   Ambrose,  Controversial   Problems   in  Visual  Edu- 
cation      Apr.      105 

Pouter,  Leonard.  The  Sound  Film  as  a  Teaching  Aid Mar.        77 

Stack,   Herbert   J.,    Teaching   Safety   through   Visual   Educa- 
tion      Mar.        82 

Thornton,  D.  C,  Why  a  Department  of  Visual  Education  ?..  Feb.         46 

Welter,  O.  Carl,  The  Sacred  Eye Oct.       245 

Williams,   Paul   T.,   A   Visit   to   the   New    England   Capes — A 

Unit  of  Study  in  Economic  Geography May  142,  June      173 

Willis.  E.  F.,  The  Use  of  Lantern  Slides  in  Teaching  Traffic 

Safety     Jan.  5 

Worrell,    F.    Marshall,    Large-Group-Instruction    through    the 

Use  of  Visual  Aids    Feb.         43 

Teager,  William  A.,  Preparing  Teachirs  in  the  Use  of  Visual- 
Sensory  Aids Mar.        74 

THE  CHURCH  FIELD 

(Conducted  by  Mary  Beattie  Bbadt) 

Yale  Divinity  School  Has  Motion   Picture  Seminar Jan.  11 

Mission  Work  to  be  Dramatized  in  Motion  Pictures 11 

Girls'   Friendly  Society  Outstanding   Example  of  Motion  Pic- 
ture Interest   13 

Film   Activities   among  the   Denominations 11 

A  Young  People's  Church  with  Motion  Pictures Feb.  49 

Y'oung    People's     Group     Makes     E.xperimental    Picture     (by 

Evelyn    S.    Brown) Mar.  88 

"Padre   Sahib"   to  Visit  United   States 88 

A    College    Dramatic    Club    Enters    the    Movies    (by    William 

L.   Rogers)     May  144 

Missions  in  Syria  to  be  Filmed 145 

How  the  Alert  Minister  Can  Use  a  Life  Situation  Picture.  ..Oct.  247 

News   Notes    Nov.  2X7 

NEWS  AND  NOTES 

(Conducted  by  Joski'hine  Hoffman) 

Use  of  Sound  Films  Increasing Jan.  18 

Resolutions   Passed  by  the  Visual  Instruction  Section  of  the 

Ohio   Education   Association    18 

Slides  on  School  Activities    18 

Cleveland   Library  Bookmarks    18 

Photography  Aids  in  Safety  Work 18 

New  Study  Guides  Prepared    20 

New   Jersey   Visual   Education   Activities 20 

Vermont   State   Film   Library    Apr.  117 

Cinema  Workshop  and  Appreciation  League    117 

Visual   Aids   Prominent   in   Exhibit 117 

The  "Ten  Best"  1935  Films   117 

Motion   Pictures    Promote    Peace    May  150 

Visual  Aids  in  New  York  Schools : .  .  . ,  -  150 

Museum   Films    .Showings    ;  .  .  150 

Highlights   of   the    National   Conference   on  Visual   Education 

and  Film   Exhibition    150 

Film  Catalogs    152 


No. 

New   Sound   Slide  Film  Series June 

Showing   of   Teacher-Made   Educational   Films 

Convention  of  Cinema   Appreciation  Group 

Ohio  Motion  Picture  Institute    

A  Report  from  Geneva    

Film- Art    Programs    

SMPE    Spring   Program    

Photographers'   Convention    

Summer  Conferences  on  Visual   Education Sept. 

Visual   Education   as    Commencement   Theme 

A  Visual  Aids  Bibliography    

Critical  Discussion  of  Photoplays  at  NEA  Convention 

Ohio  Visual  Group  Meets    Oct. 

A  Report  from  the  Y.  M.  C.  A.  Bureau 

New  York  University  Continues  Film  Lectures 

Bird  Songs   Recorded    

Canada   National   Film   Society   Report Nov. 

Traveling  Peace  Film  Units    

New   Film   Directory    

Visual   Education  Courses  at  Boston  University 

Department   of   Agriculture   Film   Strips 

Film  Makes  its   Debut  at  Salzburg 

Chateau    Becomes    Film    Studio 

Progress    in    Florida    I*ec. 

S.  M.  P.  E.  Fall  Convention    

National   Visual   Education    Directory 

Audio-Visual  Education  Activities  at  Teachers  College 

Conferences  on  Visual  Aids    

A   New  Market   for   Photographs 

R.  A.  Wood,  of  U.  S.  Bureau  of  Mines,  Retires 

DEPARTMENT  OF  VISUAL  INSTRUCTION 

(Conducted  by  E.  C.  Waqooneb  and  N.  L.  Gbeene) 

The  St.  Louis  Meetings    Jan. 

Program  for  the  Winter  Meeting  at  St.  Louis Feb. 

The  St.  Louis  Meeting Mar. 

"The  DVI  Caravan  "    

No  Meeting   at  Portland    May 

New  Jersey  Visual  Association  Meets    

Massachusetts    Annual   Meeting    

More  about  "No  Meeting  in  Portland" June 

Membership  in  the  Department,  and  Plans  for  Coming  Year. Oct, 
Official    Roster — Paid    Members — Department    of    Visual    In- 
struction     Nov. 

New  Jersey  Visual  Education  Association  Meets Dec. 

FILM  PRODUCTION  IN  THE  EDUCATIONAL  FIELD 

(Conducted  by  F.  W.  Davis) 

Introduction   of  New   Department    Jan. 

The    Experience    of    the    College    of    Veterinary    Medicine    at 

Ohio  State  University  in  16mm  Film  Production ......  Feb. 

Common    Problems     Concerning     Equipment     and    Technical 

Data Mar. 

Discussion  of  Factors  in  the  Design  of  16mm  Motion  Picture 

Projectors    Apr. 

Suggestions   for   Amateur   Producers — Type   of   Film  to   Use, 

Exposure  Meters,  Tripods    May 

Common  Errors  in  the  Production  of  Teaching  Films June 

What  to  Look  for  in  Choosing  Projection  Screens  for  Your 

School    

Student  Activities  with  the   Camera Oct. 

Hints  on  Making  Natural  Color  Movies Nov, 

Problems  in  Sound  Film  Production Dec. 

Teaching  Local  History  through  Motion  Pictures 

AMONG  THE  MAGAZINES  AND  BOOKS 

(Conducted  by  Stei,la  Evelyn  Myers) 

Director  Guides  Teachers  in  Use  of  Visual  Aids  (by  E.  Wini- 
fred  Crawford   in  Nation's  Schools) Jan. 

The  Motion  Picture  and  Music  (by  Douglas  Moore  in  Na- 
tional Board  of  Review  Magazine) 

Mickey  vs.  Popeye   (by  William  deUille  in  Xhe  Forum) .... 

Everybody's  Language   (by  Winston  Churchill  in  Collier's)  .  . 

I  Talked  with  Charlie  Chaplin   (by  A.  J.  Urban  in  Intercine) 

A  Unique  Project  in  Map-Making  (by  D.  P.  Lucas  in  Sierra 
Educational   News)     

Films  in  a  Rural  School  (by  A.  S.  C.  Lambon  in  Sight 
and  Sound)    

Symbol  Stories  (by  Mary  Combs  and  Agnes  Lehman  in 
Grade   Teacher)    

Pictures   in   Geography  Textbooks    (by  Irving  R.    Mello   and 

Ivan  R.  Waterman  in  The  Elementary  School  Journal)  .Feb. 

The  Development  and  Use  of  Stereo  Photography  for  Educa- 
tional Purposes  (by  C.  Kennedy  in  Journal  of  the  So- 
ciety  of  Motion  Picture   Engineers) i 

Notes  on  Pabst   (by  Alberto  Mondadori  in  Intercine) 

Fundamentals  of  Visual  Education  (by  J.  Raymond  Hutch- 
inson  in   The   School  Executive) Mar. 

Developments  in  Visual  Education  (by  Eugene  U.  Uerring- 
ton   in   Visual  Education  News) 

Increasing  Motion  Picture  Appreciation  among  Youth  (by 
Elizabeth  Watson  Pollard  in  International  Journal  of 
Religious    Education)     

The  Educational  Film  in  Public  Cinemas  (by  Luis  Gomez 
Mesa  in  Intercine ) 

Recent  Developments  in  Sound  Technique  (by  Basil  Wright 
i  n   Intercine )     

The  How  of  Visual  Education    (by  Byron  O.  Kirby  in   The 

Journal   of   Education)     ;  •  Apr. 

Using  the  Film  in  a  Secondary  School  (by  Houghton  in 
Sight  and  Sound )    


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809 
309 
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810 
319 


17 

51 

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85 

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13 

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90 

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184 

186 
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284 
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15 
IS 

15 
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16 

16 

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47 

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87 

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89 

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118 


Nage  328 


The  Educational  Screen 


No.      Page 
What   Are    the    Essential    Characteristics   of    an    Educational 

Film?    (by  Mrs.  Kaufman  in  i^ight  and  Sound) Apr.      118 

Manchester  Educational  Experiment  (in  Sight  and  Sound) .  .  118 

Theater  versus  Pictures    (by  Theresa  Helburn  in  Journal  of 

the  American  Association  of   University  Women) 118 

The   Dance  in  the  Motion  Picture    (by  John  Martin  in  Na- 
tional Board   of  Review   Magazine) 119 

The    Audio-Visual   Studio    (by    Max   B.    Brunstetter   in    The 

School    Executive)     May      147 

Motion   Pictures  for  the  Church    (by  Dorothy  Fritach  Bortz 

in    Church    Management) 147 

The   Cartoon  and  the  Tradition  of  Creative  Arts  in  Motion 

Pictures    (by  Jan  Kucera  in  Jntercine) 147 

The   Lantern   and  Slide  as   a   Teaching  Device    (by  EUa  M. 

Probst    in    Educational    Method) 147 

Educational  Audio  Film  Production    (by  D.    V.  Arnspiger), 

Problems  of   Developing  Visual   Education   in   a   School 

System    (by   Claude   Hardy),    Motion    Pictures   and   the 

Social    Sciences    (by    Frederic    M.    Thrasher),     (in    Na- 
tional Board  of  Review  Magazine) 147 

A  Universal  Educator    (by  Anna  Y.   Dorris  in  Sierra  Edu- 
cational  News)     June     179 

The   Motion   Picture   as   a   New   Tool   for   a   New   Education 

(by  Fred  W.  Orth  in  Nebraska  Educational  Journal)  .  .  179 

Why  Visual  Materials   Appeal   in  Science    (by  /.   M.  Stach- 

house    in    Education) 179 

Planning   the   Mathematics   Classroom    (by  Fred  Bedford   in 

The   School  Executive) 179 

The    Program    of    Visual    Education    in     the     Elgin     Public 

Schools   (by  E.  C.   Waggoner  in  The  Illinois  Teacher)  .  .  179 

Projected    Visual    Aids    in    Vocational    Agriculture    in    Iowa 

(by  A,  H.  Hausrath  in  The  School  Review) .  179 

Effective    Use    of    Motion    Pictures    (by   /.    A.    Hollinger   in 

The     Nation's     Schools) 180 

Some  Techniques   in  Microprojection    (by  Frederick  L,   Fitz- 

patrick   in   Science   Education) 180 

Successful    Visualization     (by    Austin    J.    Hotlingsworth    in 

Church  Management)    180 

Puppets   in   the   Library    (by  SUowa  H.   Andrew   in   Wilson 

Bulletin   for    Librarians) Sept.     218 

Building  a  Visual  Education  Program   (by  Harold  C.  Bauer 

in  Minnesota  Journal   of  Education) 218 

The  New  Visual  Culture    (by  Lancelot  Hogben  in  Sight  and 

Sound)     218 

Equipment  for  Teaching  Geography  (by  Vera  E.  Bigdon  and 

Frank  E.  Sorenson  in  The  School  Executive) 218 

Devices  to  Create  Interest  in  Geography   (by  Lucy  M.  Smith 

in  The  Journal  of  Geography) 218 

Cartooning  Finds  a   Place   in  the   Sun    (by  Harriet   Weaver 

in  School  Arts) 218 

Visual  Education  is  Great — What  is  Next!   (by  Pedro  J.  he- 

mos  in  School  Arts) 218 

Amateur     Photoplay    Composition     (by     William    Lewin    in 

Education)     Oct.      250 

Films  in  the  Classroom  (by  Eric  Clayton  Jones  in  the  Educa- 
tion Outlook)    250 

Efficient  Use  of  Visual  Aids  and  Radio  (by  Walter  C.  Martin 

in   The   School   Executive) 250 

The  (Juicksands  of  the  Movies   (by  Qilbert  Seldes  in  Atlantic 

Monthly)      Nov.      278 

The  Camera  in  School   (by  Alexander  B.  Lewis  and  John  A. 

Deady  in  Movie  Makers) 278 

Movies  Aid  Labor   (by  Ralph  M.  Barnes  in  Movie  Makers)  .  .  278 

Discrimination  in  the  Use  of  Movies   (by  Ben  B.  Darrow  in 

The    Education    Digest) 278 

Motion  Pictures  and  Public  Opinion    (by  Alexander  Markey 

in    Vital    Speeches)  ....._ .•  •  •  : ^"^^ 

Progressive   Education — Special   Visual   Education  issue.  .  .  .Dec.      311 
Motion   Pictures  Bring  Life  to  Conferences    (by  Anna  Van- 

dercook  in  International  Journal  of  Religious  Education)  312 

Photoplays   as   an   Aid  to  Education    (by   William   Lewin   in 

The  Instructor)    312 

The  Verbal  Accompaniment  of  the  Educational  Film    (by  /. 

E.  Hansen  in  Journal  of  Experimental  Education) ....  312 

Bear  Projection   (by  Earl  Theisen  in  Movie  Makers) 312 

Radio.    Movies   and  the  Teacher    (by  Paul   G.   Reed  in  New 

York  Stale  Education)    324 

BOOK  REVIEWS 

Third   Dimension  Picture   Books:     Footprint  Series Jan.        16 

The  Administration  of  Visual  Aids  (by  Fannie  W.  Dunn  and 

Etta    Schneider)     Apr.      128 

Materials   of    Instruction    (Eighth    Yearbook   of    the    Depart- 
ment of  Supervisors  and  Directors  of  Instruction) June     180 

A  Motion  Picture  Edition  of  Romeo  and  Juliet Sept.     219 

Teacher    Preparation    in    Visual    Education    (by    Fannie    W. 

Dunn  and  Etta  Schneider) Oct.      250 

Bibliography    on    Visual    Education    (by    Middlesex    County. 

N.  J.,  Supervising  Principals'  Association) 250 

How    to    Judge    Motion    Pictures    and    How    to    Organize    a 

Photoplay  Club    (by  Sarah  McLean  Mullen) 251 

World  Fellowship :    The  Stake  of  the  Church  in  Motion  Pic- 
tures   (by  Rev.    Worth   Tippy),   Motion   Pictures   and  a 

New  Soul  Science    (by  Dr.  Francis  S.  Onderdonk) .  .  .  .Nov.      279 
Values    of    Movies    and    Talkies    in    Education     (by    A.    P. 

Bonis)     Dec.      324 

FILM  ESTIMATES    (full   pace  or  more  in  each  issue) 

CURRENT  FILM  RELEASES 

Boulder  Dam  Films  Now  Available   Free Jan.  28 

Outstanding  Film  Added  to  Blue  List 28 

Horse   Power   in  Action 28 

Two  Free  Sound   Subjects    29 

New   Film-and-Projector    Service    Offered 29 

Motion  Pictures  on  Better  Housing 29 

Winter   Sports  Film  for   Schools 29 

Natural  Science  Series    Feb.  58 

New    Industrial    Subjects    58 

Ethiopia   in   16mm   Film 60 


No. 

School  Films  Prepared  from  Feature  Classics Mar. 

Tate   Animated   Surgical   Films 

Additions  to  Garrison  Library 

Two   New   Industrials    

A  Novel   Sport  Subject    

Shakespeare   Classic   Faithfully  Screened    May 

Sound  Films  on  House  Fly  and  Leaves 

Culver   Issues   New    16mm   Prints 

To  the  South  Seas  with  Pillsbury 

Juvenile  Film  Programs    June 

Syracuse   University   Plans   Film   Production 

Noted  Naturalist  Prepares  Two  New  Films 

Films  for   Summer   Sessions    

16mm  Sound  Film  on  Football Oct. 

Historical    Subject    

China   Series   Timely    

New  Film  Catalog    

The  World  in  Review   Nov. 

1936    Olympics   in   16mm   Sound 

A   New   Industrial   Subject 

Film  on  Progressive  Education    Dec. 

New  Studio  to  Produce  16mm  Films 

New  Industrial  Subjects    

Motion  Picture  Depicts  Prison  Conditions 

SCHOOL  DEPARTMENT 

(Conducted  by  Dr.  F.   Dkan  McClusky) 

Assembly  Programs  with  Pupilmade  Slides  (by  Vivian  Sow- 
ers Rankin)    Jan. 

The  Combination  of  Art  and  Visual  Instruction  (by  Lennice 
C.  Eyraud )    

Visual    Education    in    the    Kindergarten     (by    Margaret    M. 

Brine )      Feb. 

University    Projection    Course     

New   York  Visual    Group   Program 

New  York  University  Continues   Film   Course 

Biology  in  the  Canal  Zone   (by  Theodora  Campbell) Mar. 

Wisconsin    Visual    Instruction    Institute 

A  Report  on  Visual  Aids  (by  the  New  York  State  Associa- 
tion of  Elementary  Principals) 

Lesson  on  the  Canadian  Fur  Trapper — Geography  4B — Us- 
ing American  Museum  Slides  (by  Mrs.  Pauline  A.  Bash- 
kowitz)     Apr. 

Cartoonland   Mysteries — Film   Review    

A  Movie  a  Day   (by  O.  Louise  Randell) May 

Film  Comprehension  Test  (by  Arnold  W  Reitze)  .  .June  188,  Sept. 

Don   Quixote — Film   Review    

The   Use   of   Lantern   Slides   in  Teaching   Biology    (by  J.    G. 

Nelson)     Oct. 

Technical  High  School  Film  in  Color  (by  H.  M.  Kuckuk) .  . . 

"Experiencing"  in  the  Use  of  Educational  Movies  at  Kinder- 
garten Level   (by  Bess  L.  Stinson) Nov. 

Visual   Group   Meets    

We   Are   All  Artists — Film   Review 

Screen  Techniques  for  Still  Projectors Dec. 

Christmas  Poem  Illustrated  with  Slides 

A   Report  of  Motion   Pictures  in   Biology 

AMONG  THE  PRODUCERS 

Leica   Photography  in   New  Form Jan. 

Additions  to  S.   O.  S   Stock 

Central   Camera   Catalogs    

New   Equipment   for   8mm   Filmos 

Bass    Bargaingram    

The   DeVry  Line    

Additions  to  SVE  Filraslide  Library   Feb. 

DeVry  Welcomes  Visitors  at  N.  E.  A 

,  1936   DeVry  Annual  Conference    

Sound   System  Offers  New  Features 

New  Distribution  Plan  for  Gutlohn  Films 

Revised   Victor   Directory    

Export  Manager  Tours  Orient    

Eastman  Presents  Magazine  Cine-Kodak Apr. 

New  Winder  for  Leica  Users 

Improvements  in   Britelite   Screens    

New    Camera    Accessories    

Two  New  Silent  Victors    May 

Filmo   8mm   Speed   Cameras    

New    Eastman    Products    

Mogull   Film   Catalog    

SVE    Introduces   Tri-Purpose    Projector June 

New  Filmosound  on  Market    

The  Episcope — New  Opaque  Projector    

Victor  P.   A.   System    

RCA  Expands  Educational   Department    . Sept. 

More  Keystone  Geography  Units    

New    Gutlohn    Division    

New   Material   Produced  by   Stillfilm 

Central's   Fall   Sale   Book    

Bell   and  Howell  Accessories   Catalog 

The  New  DeVry  16mm  Challenger Oct. 

S.  O  S.  Equipment  Catalog    

Eastman  Announces  Miniature  Camera    

Central  Camera's  New  Department    

Kodachrome  for   Smni   and  Still  Cameras Nov. 

New  RCA  Sound  Catalog  for  Schools 

DeVry  Foreign   Business   Rapidly  Growing 

Bell    and   Howell   Film    Catalog 

An  Orthovis  Aid  to  Geometry  Teachers 

Bausch  and  Lomb  Visual  Aids 

MISCELLANEOUS 

DeVry  Summer  School  Changes  Name Mar. 

S.  R.  Burns  of  International  Projector  Dies 

A  Symposium  on  Sound  and  Silent  Films  in  Teaching Apr. 

Film  Catalogs    Apr. 

Summer   Courses   in  Visual   Instruction May 

Program  of  National  Conference  on  Visual  Education June 

The  Largest  and  Best  DeVry  Conference Sept. 

Developing  Visual  Education    Dec. 


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January,  1936 


Page  3 


Educational  Screen 

Combined  with 

Visual   Instruction  News 
JANUARY,  1936 

VOLUME  XV  NUMBER  I 


THE  EDUCATIONAL  SCREEN.  Inc. 


DIRECTORATE  AND  STAFF 


Herbert  E.  Slaught,  Pres. 
Nelson  L,  Greene,  Editor 
Ellsworth  C.  Dent 
Evelyn  J.  Baker 
Josephine  Hoffman 


Stanley  R.  Greene 
R.  F.  H.  Johnson 
Marion  F,  Lanphier 
F.  Dean  McClusliy 
Stella  Evelyn  Myers 


CONTENTS 

The  Use  of  Lantern  Slides  in  Teaching  Traffic  Safety. 

E.  F.  Willis - - -  -  5 

An  Evaluation  of  Motion  Picture  Films  for  Classroom 

Use  in  Biology.     L.  C.  Hinchley 8 

Some  Common  Causes  of  Damage  to  Slides  and  Films. 

B.  A.  Aughinbaugh.... 1 0 

The  Church  Field.     Conducted  by  Mary  Beattie  Brady I  I 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis.. 13 

The  Film  Estimates 14 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 15 

Department  of  Visual  Instruction. 

Conducted  by  E.  C.  V/aggoner. 17 

News  and  Notes.     Conducted  by  Josephine  Hoffman.. 18 

School  Department. 

Conducted  by  Dr.  F.  Dean  McClusky 22 

Current  Film  Releases.. 28 

Among  the  Producers 30 

Here  They  Are!    A  Trade  Directory  for  the  Visual  Field .32 

Contents  of  previous  issues  listed  in  Education  Index. 


General  and  Editorial  Offices,  64  East  Lake  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  January,  1936  by  the  Edu- 
cational  Screen,    Inc.     Published    every   month   except  July   and    August. 

$2.00  a  Year         (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 


Page  4 


The  Educational  Screen 


camera! 


MAJOa  ATTOACTION 

TO*   START. T+^t 

N  t  W  •  Y  E  Aa 

MODEL-25 


R.EG.U.S. 
PAT.  OFF. 


(^orid's  SitiaUisi, 
3inestf  Coiuesi  j^riced 

Ul&H    aUALITY 
SOUND  PROJECTOR 


VICTOR  ANIMM06RAPH  CORP, 

HEUJ  XOftK  C«iCACO-0*VEnPOftT,»0U)*-mSin«Ui 


HlCiud SOU N D  PROJ EC TQ]^ 


January,  1936 


Page  5 


The  Use  of  Lantern  Slides  In 
Teaching  Traffic  Safety 


EFFORTS  have  been  made  to  reduce  our  auto- 
mobile accidents  through  improving  the  engi- 
neering features  of  our  highways  and  automo- 
biles. Stricter  enforcement  is  being  tried  in  vain 
all  over  the  country.  Education  is  now  being 
stressed  more  and  more  as  a  means  to  mitigate 
our  highway  death  toll.  It  is  a  known  fact  that 
accidents  among  grade  school  children,  where  safety 
education  is  carried  on,  are  on  the  decline.  Real- 
izing this  fact  the  Superior  Vocational  School  is 
offering  adults  a  course  in  Traffic  Safety.  It  is 
hoped  that  such  education  will  in  a  few  years  make 
our  highways  safer  for  both  business  and  pleasure. 
At  present  our  favorite  auto  tours  are  death  traps 
even  for  the  most  careful  drivers. 

Because  adults  generally  feel  they  have  had 
enough  schooling,  it  is  especially  hard  to  secure 
their  attendance  at  classes.  Teaching  with  lantern 
slides  adds  interest  to  the  course,  eliminates  chance 
of  misunderstanding,  and  aids  in  the  presentation 
of  subject  matter.  This  not  only  means  better 
teaching,  but  also  assures  the  class  a  better  attend- 
ance. 

"Who  has  the  right  of  way?"  is  a  question  often 
asked  by  the  motorist.  Before  answering  his  ques- 
tion, it  is  important  to  know  the  positions  of  the 
cars  involved,  their  direction  of  travel,  and  the  type 
of  intersection  at  which  the  right  of  way  is  in  ques- 
tion. The  presentation  of  all  these  facts  is  very 
difficult  even  in  a  long  explanation. 

To  understand  such  an  explanation  intelligently, 
the  student  must  visualize  the  entire  intersection, 
the  two  or  more  cars  involved  and  their  relative 
positions  on  the  roadway.  Although  the  question 
may  be  stated  perfectly  so  that  the  student  does 
not  miss  a  word  of  it,  he  can  not  imagine  a  correct 
picture  of  the  situation  and  at  the  same  time  retain 
the  facts  necessary  for  fair  judgment.  When  the 
instructor  finishes  the  statement  of  facts  he  is  be- 
sieged by  a  dozen  questions.  The  teacher  resorts 
to  a  sketch  on  the  blackboard,  a  visual  aid.  Valu- 
able time  is  consumed  in  drawing.  Student  interest 
is  lost.  When  completed  the  sketch  is  frequently  so 
imperfect  that  the  student,  when  his  attention  is 
drawn  to  the  subject  again,  is  more  interested  in 
criticizing  the  sketch  than  in  answering  the  ques- 
tion. 

These  difficulties  of  presentation  and  student 
understanding  are  eliminated  when  a  slide,  as 
shown  in  Fig.   1,  is  flashed  on  the    screen.      In    a 


By     E.     F.    WILLIS 

Superior  Vocational  School.  Superior,  Wis. 


glance  the  student  sees  that  the  intersection  is  not 
at  an  arterial  highway,  for  no  stop  signs  are  shown. 
The  relative  positions  of  the  cars  are  before  him. 
The  question  then  becomes,  "Who  has  the  right 
of  way,  driver  of  car  No.  1  or  No.  2?"  No  time  is 
lost.  Student  interest  is  held  high  and  undiverted, 
for  the  sketch  is  perfect.  The  situation  could  not 
be  more  clearly  presented  to  the  observer. 

By  asking  and  discussing  a  few  more  questions 
concerning  the  right  of  way  of  the  other  cars  shown 
in  the  figure,,  the  student  will  have  learned  the  law 
of  right  of  way  at  non-arterial  intersections  as  well 
as  the  law  governing  the  right  of  way  of  cars  mak- 
ing left  turns  at  any  intersection.  Slides  similar  to 
Fig.  1  are  used  to  teach  rules  of  right  of  way  at  ar- 
terial highways,  at  alleys  or  private  driveways;  of 
cars  starting  from  a  parked  position,  of  funeral  pro- 
cessions and  of  pedestrians. 


0 


^ 


/-:03—      -cd]- 


Figure  1. 

Slides  can  be  used  for  review  and  testing  pur- 
poses as  well  as  for  teaching.  For  example,  with 
the  aid  of  the  slide  shown  in  Fig.  2  the  following 
questions  may  be  asked  about  each  car  shown:  Is 
this  car  parked  correctly?  What  parking  law  is  be- 
ing violated?  Explain  how  the  car  should  be 
parked.  You  have  in  this  one  slide  a  good  review  of 
the  parking  laws  not  connected  with  pedestrian 
travel. 

The  teaching  of  traffic  laws  is  only  the  smaller 
part  of  a  course  in  Traffic  Safety.  It  does  the  stu- 
dent no  good  to  know  the  law  if  he  does  not  obey 
it  while  driving.  To  be  at  least  somewhat  assured 
of  the  student's  obedience  to  the  laws  learned,  the 


Page  6 


The  Educational  Screen 


safety   instructor   must   make   the    student    safety- 
minded. 

Safety-mindedness    must    be    drilled    into    people 
or  it  does  not  take.    \  common  method  used  to  pro- 


"ra" 


(Gj 


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tg 


t^ 


Figure  2. 
duce  a  safety  consciousness  is  by  talks.  Continu- 
ous preaching  on  any  subject  makes  that  topic  un- 
interesting and  boresome.  Since  Safety  is  no  ex- 
ception the  safety  instructor's  problem  becomes 
one  of  teaching  his  subject  in  an  interesting  yet 
effective  manner. 

Using  lantern  slides  is  the  answer.  A  carefully 
selected  picture  or  cartoon,  thrown  on  the  screen 
will  teach  a  lesson  in  a  few  moments.  Asking  a 
few  questions  concerning  these  illustrations  will 
tend  to  direct  the  thinking  of  the  student  so  that 
the  picture  and  the  idea  it  represents  will  be  fixed 
on  the  student's  mmd  without  tiresome  talks. 

For  example,  an  appeal  to  the  driver's  pride  may 
be  made  by  a  hypothetical  question  like  the  follow- 
ing: "Several  drivers  are  discussing  with  pride 
their  feats  of  motoring.  What  will  be  the  main 
subject  discussed  by  this  group?" 

Answer:  "Speed  in  getting  from  one  place  to 
another." 

Question :  "With  our  modern  cars  and  highways 
don't  you  think,  you  or  anyone  else,  perhaps,  could 
make  equally  good  time,  if  you  wished  to  take  the 
chances  these  drivers  take?" 

Answer:    "Yes."  (Emphatically  spoken) 

Question :  "Since  anyone  could  make  the  trip 
equally  fast,  nothing  to  be  proud  of  has  been  in- 
volved.   That  is  true,  is  it  not?" 

Answer:    "Yes." 

Question:  "How  many  can  boast  of  this  man's 
record  (referring  to  the  picture)  of  53  years  and 
no  accidents?" 

Answer:  "Not  many  of  us."  This  answer  may 
be  a  bit  slow  in  coming  for  it  is  not  a  matter  of 
pride. 

Question :    "Such  service  is  a  real  achievement. 


A\  hat  then  should  motorists  be  proud  of? 
Answer:   "A  safe  driving  record." 
When  the  above  answer  is  made  the  instructor 
has  every  right  to  be  jubilant  for  he  has  accom- 
plished his  purpose.     His  lesson  in  safety-minded- 
ness  is   successful   without   his   making    a    speech. 
The  picture  and  the  class  made  the  speech  for  him. 
There  are  five  other  weaknesses  in  human  nature 
through  which  the  appeal  for  safe  and  lawful  driv- 
ing may  be  made.     Since  it  is  impossible  to  show 
cuts  of  slides  illustrating  all  these  weak  points  a 
mention  of  them  will  suffice  to  show  the  limitless 
possibilities  of  slides. 

Courtesy  among  drivers  as  well  as  between  driv- 
ers and  pedestrians  along  our  highways  would  do 
much  to  relieve  our  terrible  accident  toll.  Courtesy 
is  nothing  more  than  being  thoughtful  of  the  rights, 
comfort,  and  convenience  of  others.  Most  motor- 
ists of  today  think  only  of  their  own  convenience. 
Many  drivers  risk  their  lives  and  those  of  others, 
often  the  lives  of  passengers  who  are  very  dear  to 
them,  just  to  avoid  the  inconvenience  of  slowing 
down,  shifting  gears,  or  losing  a  fraction  of  a  sec- 
ond. Facts  of  this  nature  can  be  produced  on  the 
screen  in  the  form  of  a  very  striking  cartoon.  Motor- 
ists have  not  been  taught  to  think  of  others  while 
driving,  therefore,  they  have  never  thought  of  dis- 
courtesy in  the  exact  and  real  way  that  the  cartoon 
shows  it  to  them.  The  idea  is  new.  It  is  novel  and 
makes  its  mark,  teaching  an  excellent  lesson  in 
safety. 

The  set  of  lantern  slides  which  I  have  developed 
with  the  aid  of  the  Conrad  Slide  and  Projection  Co., 
for  my  work  in  Superior,  Wisconsin,  contains  sev- 
eral slides  of  a  humorous  nature.  The  reader  may 
feel  that  safety  is  a  serious  subject  and  that  humor 
can  play  no  part  in  a  safety  program.  People  who 
read,  "And  Sudden  Death",  by  F.  C.  Furnas,  re- 
member it  because  it  is  striking.  The  very  grue- 
someness  of  the  article  makes  an  impression  on 
one's  mind.  Humor  can  impress  equally  as  much. 
Everyone  remembers  for  years,  certain  humorous 
incidents  in  his  life.  It  would  seem  wise,  therefore, 
to  impress  on  a  person's  mind  by  use  of  a  humorous 
slide  the  absolute  foolishness  of  jay-walking.  The 
slide  shows  a  man  reading  a  newspaper  while  jay- 
walking between  two  parked  cars  and  in  front  of 
an  on-coming  car.  An  inset  shows  a  hen  crossing 
the  road  in  the  country,  following  a  course  similar 
to  that  taken  by  the  man.  The  slide  is  entitled, 
"You  Expect  It  in  a  Hen."*  Humorous  slides  of 
this  nature  are  always  effective  because  they  are 
impressive  and  relieve  the  awful  seriousness  which 
the  word  safety  connotes. 

Sportsmanship  to  most  people  embodies  a  high 
ideal  of  fair  play.     Everyone    likes    to    be    a    good 


*This   slide   was  taken  from   the   pamphlet,   "Thou   Shalt   Not 
Kill",  by  Travelers  Insurance  Co. 


January,  1936 


Page  7 


sport.  Driving  is  really  a  game,  the  rules  of  which 
are  the  traffic  laws.  A  slide  showing  a  player  vio- 
lating the  code  of  sportsmanship  in  a  recognized 
athletic  game  carefully  compared  with  one  showing  a 
dangerous  driving  habit  has  a  good  effect  on  drivers. 

Xo  better  method  for  convincing  a  man  of  his 
faults,  driving  or  otherwise,  has  ever  been  developed 
than  self-confession.  A  very  simple  approach  to 
this  weak  spot  in  human  nature  lies  open  to  the 
safety  instructor.  Ask  the  student  to  mention  por- 
tions of  the  roadway  upon  which  he  believes  most 
fatal  accidents  occur.  Through  this  exercise  the 
pupil  learns  where  he  should  drive  most  carefully. 
Now  encourage  a  discussion  among  the  class  on  the 
subject,  "The  Time  of  Day  and  the  Day  of  the 
Week  During  Which  Most  Accidents  Occur."  After 
some  agreement  has  been  reached  the  next  project 
is  to  list  the  reasons  why  these  particular  hours  and 
day  have  been  chosen.  In  the  list  will  be  some 
driving  faults.  A  start  has  been  made  in  the  con- 
fession of  driving  sins  which  will  be  completed  in 
the  next  problem,  the  listing  of  driving  habits  that 
produce  most  fatal  accidents.  Slides  of  charts, 
graphs,  and  statistical  tables  are  used  to  check  the 
correctness  of  the  list  made.  In  most  cases  the  stu- 
dent lists  will  be  fairly  accurate. 

I  once  asked  one  of  my  classes  if  anyone  would 
be  willing  to  drive  down  one  of  our  main  arteries 


Figure  3, 

of  travel  at  a  speed  of  40  miles  an  hour.  Every 
member  of  the  class  refused  on  the  score  that  a 
traffic  officer  might  arrest  him  for  speeding.  Mo- 
torists fear  being  caught  and  punished.  Into  this 
^pening  the  safety  instructor  puts  his  wedge  of 
scientific  laws  which  are  always  on  the  job,  always 
obeyed,  to  make  the  student  safety-minded. 

The  laws  of  physics  which  enter  into  the  driving 
of  a  car  can  be  easily  impressed  on  the  student's 
mind  through  the  use  of  lantern  slides.  For  in- 
stance :  A  lantern  slide  showing  a  powerful  arm 
pushing  a  car  off  the  roadway  illustrates  centrifugal 


force.  A  slide  showing  how  weak  and  strong  men 
entering  into  a  tug  of  war  may  be  likened  to  poor 
and  good  brakes  operating  against  inertia  to  stop 
the  car.  A  lantern  slide  comparing  the  force  of 
momentum  of  a  hammer  striking  a  nail  with  the 
force  of  momentum  of  a  car  striking  a  fixed  object, 
or  another  car,  will  show  the  destructive  force  of 
fast  moving  automobiles. 

The  fifth  mode  of  making  the  student  safety- 
minded  lies  in  an  appeal  to  the  student's  reason. 
The  traffic  code  is  a  well  organized,  thoroughly  de- 
veloped set  of  rules  governing  the  movements  of 
traffic  in  such  a  way  as  to  provide  for  the  rights, 
convenience,  comfort  and  safety  of  the  motorist. 
If  the  student  can  be  made  to  realize  the  truth  of 
the  above  statement,  he  is  more  likely  to  obey  the 
traffic  code  than  to  disobey  it.  Transgressions  of 
the  rules  of  the  highway  are  often  due  to  the  driv- 
er's impression  that  the  law  is  placing,  without  good 
reason,  restrictions  oil  his  liberty  and  comfort. 

The  use  of  lantern  slides  presents  numerous  op- 
portunities to  the  safety  instructor  to  illustrate 
such  an  idea.  Take  for  example  the  slide  shown  in 
Fig,  3,  Driver  of  car  No.  1  is  making  an  improper 
left  turn.  Not  only  is  the  driver  crossing  the  path 
of  car  No.  2,  thus  inconveniencing  the  driver  of  that 
car,  but  he  is  also  holding  up  any  traffic  w-hich  may 
be  behind  car  No.  2  and  endangering  the  life  and 
property  of  both  drivers.  If  the  driver  of  car  No.  1 
made  his  left  turn,  as  required  by  law,  from  the  lane 
of  travel  in  which  car  No.  2  is  moving,  no  such 
chance  of  an  accident  or  tie  up  in  traffic  would  have 
been  possible.  A  pedestrian  using  the  crosswalk 
directly  in  front  of  car  No.  3,  would  not  be  able  to 
see  a  car  approaching  in  the  lane  of  travel  nearest 
the  curb.  The  driver's  view  of  the  pedestrian  is 
also  cut  off  by  car  No.  3  which  would  not  be  true 
if  the  car  were  parked  fifteen  feet  from  the  cross- 
walk as  required  by  law.  And  so  on,  through  the 
whole  traffic  code  can  be  shown  the  dire  necessity 
of  obedience  to  the  law  for  the  safety  and  conven- 
ience of  all  users  of  the  highway. 

There  are  then^,  six  channels  through  which  the 
safety  leader  may  inculcate  a  spirit  of  safety- 
mindedness  in  his  student.  These  methods  briefly 
stated  are  an  appeal  to  the  driver's  spirit  and  sense 
of  pride,  sportsmanship,  courtesy,  reason,  fear  of 
disobeying  scientific  laws  which  will  aways  be  en- 
forced and  self-improvement  through  the  acknowl- 
edgement of  his  driving  faults. 

Lantern  slides  make  easy  the  approach  to  these 
six  channels  leading  to  student  safety-mindedness. 
They  provide  ease  of  presentation  and  understand- 
ing of  the  subject  matter  which  contribute  to  a  vivid 
student  interest  in  the  course,  valuable  factors  to 
good  teaching. 


All  cuts  of  slides  furnished  through  the  courtesy  of  the  Con- 
rad Slide  and  Projection  Co..  Superior,  Wisconsin. 


Page  8 


The  Educational  Screen 


An  Evaluation  of  Motion  Picture  Films 
For  Classroom  Use  In  Biolosy^^^ 


IN  AN  attempt  to  determine  whether  the  motion 
picture  is  likely  to  give  pupils  wrong  ideas  of 
biological  concepts,  five  films  were  shown  to  a 
biology  class  of  25  sophomores  and  juniors  in  Mar- 
fa,  Texas,  High  School.  Three  of  the  films  seemed 
not  well  adapted  to  high  school  use  because  they 
lacked  organization  around  a  definite  biological 
principle  or  were  too  advanced  in  nature.  The 
other  pictures,  "The  Living  Cell"  and  "The  Mos- 
quito," were  better  organized  and  had  fewer,  but 
definite,  sub-titles.  The  results  obtained  from 
showing  these  two  films  will  be  discussed  in  this 
article. 

Test  questions,  chiefly  of  the  recall  type,  were 
secured  by  a  thorough  analysis  of  the  films.  Twen- 
ty-two questions  of  varying  difficulty  were  se- 
lected from  the  picture  and  the  sub-titles  of  "The 
Living  Cell."    The  questions  follow: 

\.  Yeast  cultures  can  be  made  by  putting  yeast 
in     (sugar)     solution. 
2.  A  bud  forms  on  the  yeast  in  about     (one  hour) 
time. 

3.  The  ameba  moves  by  (a  flowing)  of  its  pro- 
toplasm. 

4.  A     (membrane)     surrounds  the  ameba. 

5.  The  dense  central  mass  of  protoplasm  in  the 
ameba's  body  is  the     (nucleus). 

6.  The  thinner  protoplasm  surrounding  this  inner 
central  mass  is     (cytoplasm). 

7.  The  ameba  takes  in  food  by  (engulfing  or 
surrounding)     it. 

.  8.  Daughter  cells  are  formed  from  the  parent  by 
(division). 

9.  One  of  the  principal  difl^erences  between  the 
ameba  and  the  paramecium  is  (their  shape  or  their 
power  of  motion). 

10.  What  important  part  of  the  paramecium  could 
be  seen?     (Nucleus  or  food  vacuole). 

11.  The  growth  on  the  side  of  the  hydra  is  a 
(bud.) 

12.  The  body  of  the  hydra  is  composed  of  (two) 
layers  of  cells. 

13.  A  longitudinal  section  of  an  object  is  made 
by  cutting  it    (lengthwise). 

14.  The  skin  of  the  flatworm  contains  (two) 
layers  of  muscles. 

(1)  This  article  is  based  on  Chapter  V  of  "Visual  Aids  for 
Demonstrating  Subject  Matter  in  High  School  Biology,"  an 
unpublished  Master's  thesis  written  at  the  Colorado  State 
College  of  Education. 


By      L.      C.      HINCHLEY 

High   School,   Marfa,  Texas 

15.  Muscle  cells  have  several  (nuclei),  which 
are  located  on 

16.  the     (outside)     of  the  cell. 

17.  Muscle  cells  are  arranged  in     (bundles). 

18.  What  are  the  waving  bodies  which  were 
shown  after  the  title,  "Ciliated  Epithelium?"   (Celia). 

19.  What  was  the  round  object  which  these 
bodies  were  tossing  along  toward  the  right?  (Dust 
particle). 

20.  The  centrosome  of  the  ciliated  cell  is  found 
in  the     (nucleus). 

21.  Growth  in  animals  is  caused  by  (cell  di- 
vision). 

22.  In  the  pictures  showing  growth  in  animals, 
what  was  shown  after  the  title,  "Three  Days  La- 
ter?"    (Blastula). 

These  questions  were  given  as  a  pretest  on  the 
afternoon  before  the  films  were  shown  at  night. 
Immediately  following  the  showing  of  the  films,  the 
same  test  was  again  given  to  determine  how  much  in- 
formation was  obtained  from  the  film.  The  results  of 
these  tests  are  given  in  Table  I,  which  contains  the 
"Right,"  "Wrong,"  and  "No  attempt"  answers  for 
both  the  pretest  and  the  follow-up  test. 

TABLE  I 
The  Questions  of  the  Test  on  "The  Living  Cell"  Arranged 
In  order  of  Difficulty  According  to  the  Number  of 
Pupils  Showing  Improvement  on  the  Test  Items 
Frequencies 
First  Test  Second  Test 

Question      Right    Wrong       No        Right     Wrong       No 
attempt  attempt 

21  0  6  17  17  3  3 

8  6  3  14  19  0  4 

13  5  3  15  IS  7  1 

9  1  2  20  9  6  8 

14  4  8  11  11  10  2 

18  0  0  23  6  6  11 

10  2  3  18  8  7  8 

6  2  0  21  7  4  12 
17             2             6            15             7            10  6 

5  5  1  17  9  6  8 

15  0  3  20  4  6  13 
4             0             3           20             4            12  7 

12  4  11  8  8  15  0 

7  1  10  12  4  11  8 
20             0             0           23             2             5            16 

1  7  6  10  9  14  0 

2  0  6  17  2  16  5 

3  0  8  15  2  10  11 

16  0  2  21  1  10  12 

11  2  4  17  1  14  8 

19  0  1  22  0  6  17 

22  0  0  23  0  15  8 


January,  19} 6 


Page  9 


It  would  appear  from  the  data  in  the  table  that 
the  questions  at  the  beginning  of  the  table  were 
easily  answered  after  the  pupils  had  seen  the  film, 
but  that  the  questions  at  the  end  of  the  table  were 
as  difficult  after  the  film  presentation  as  before. 
A  discussion  of  Questions  21  and  22  will  show  this 
contrast  clearly. 

In  the  film  a  succession  of  pictures  showing  the 
formation  of  a  large  mass  of  cells  by  the  process  of 
division  and  subdivision  answered  Question  21. 
But  added  to  the  clearness  of  the  pictures  there 
was  the  sub-title,  "Growth  in  animals  is  caused  by 
the  division  of  their  cells."  Hence  there  were  sev- 
enteen correct  answers  to  this  question  on  the  fol- 
low-up test  though  there  had  been  no  right  answers 
on  the  pretest.  Also,  there  were  seventeen  who 
made  no  attempt  to  answer  the  question  on  the  pre- 
test but  only  three  who  made  no  attempt  on  the 
follow-up  test.  The  film  had  made  a  bit  of  infor- 
mation quite  clear  to  a  number  of  students. 

Question  22  was  not  answered  so  clearly.  Fol- 
lowing the  sub-title  "Three  Days  Later"  a  picture 
of  a  blastula  was  flashed  on  the  screen.  There  was 
no  accompanying  explanation  of  what  this  particu- 
lar mass  of  cells  was  intended  to  represent.  The 
picture  was  too  indistinct  for  the  students  to  per- 
ceive that  the  mass  was  a  hollow  ball  of  cells  al- 
though they  had  seen  good  lantern  slides  and  flat 
pictures  of  this  stage  in  animal  development  and 
had  studied  the  blastula  of  the  frog  in  the  labora- 
tory. Of  the  fifteen  pupils  who  attempted  to 
answer  the  question  none  made  a  creditable  answer 
and  there  were  eight  who  made  no  attempt  to 
answer. 

Quite  similar  results  were  obtained  in  the  case 
of  the  second  film,  "The  Mosquito."  The  twenty- 
five  questions  on  this  film  were  given  under  condi- 
tions like  those  on  "The  Living  Cell."  The  ques- 
tions follow : 

1.  The  mosquito  breeds  wherever  there  is  (stag- 
nant)    water. 

2.  Its  eggs  are  laid  in  the  form  of  a     (raft). 


3.  The  eggs  are  found  near  the    (surface)     of  the 
water. 

4.  They  are     (1  to  200)     in  number. 

5.  The  eggs  hatch  in     (1  or  2  days)     time. 

6.  The  larva  hatches  from  the    (sharp  or  pointed) 
end  of  the  egg. 

7.  The  larva's  heart  is     (tube)  -shaped. 

8.  The  larva  breathes  through     (tubes). 

9.  The  larva  gets  its  air  from  (above)  water. 

10.  It  eats     (microscopic  plants  and  animals). 
IL  The  larva  moults     (three)     times. 

12.  The  time  required  for  each  moulting  is  about 
(thirty  minutes). 

13.  During  the  last  moult    the    insect    breathes 
through  (tubes) 

14.  which  are  on  the     (head). 


15.  While  in  the  pupa  stage  the  mosquito  eats 
(nothing). 

16.  Its  peculiar  movements  in  this  stage  gave  it 
the  name     (tumbler). 

17.  The  pupal  stage  lasts     (2-5  days). 

18.  The  adult  emerges  from  the  pupal  skin  (1 
hour)     time. 

19.  The     (female)     mosquito  bites. 

20.  Its  bill  is  provided  with  parts  for     (piercing) 

21.  and  parts  for     (sucking). 

22.  The  (male)  mosquito  sucks  but  does  not 
bite. 

23.  Mosquitoes  may  be  killed  in  the     (water)    by 

means  of  oil. 

24.  The  male  mosquito's  hearing  organs  look  like 
(feathers). 

25.  In  Marfa  the  mosquito  is  most  likely  to  breed 
in   (water  tanks). 

Reference  to  Table  II  will  show  that  on  this  test 
also  some  questions  seem  to  be  easy  while  others 
are  too  difficult  for  many  pupils  to  answer.  For  ex- 
ample, there  were  twenty  pupils  who  gained 
enough  information  from  the  film  to  be  able  to 
answer  Question  8  correctly,  but  Question  5  was 
answered  correctly  by  only  three  pupils.  And  these 
were  the  same  three  who,  probably  by  guess,  had 
answered  it  right  on  the  pretest. 

TABLE  II 
The  Questions  of  the  Test  oh  "The  Mosquito"  Arranged 
In  order  of  Difficulty  According  to  the  Number  of 
Pupils  Showing  Improvement  on  the  Test  Items 
Frequencies 
First  Test  Second  Test 

Question      Right    Wrong       No        Right     Wrong       No 
attempt  attempt 

8  2  13  10  22  2  1 

4  0  19  6  20  5  0 

13  2  2  21  20  4  1 

6  4  6  IS  20  3  2 

10  0  7  18  16  9  0 

19  10  5  10  25  0  0 

22  10  5  10  25  0  0 

15  1  3  21  16  5  4 

21  4  S  16  18  6  1       ■ 

16  0  8  17  12  10  3 

20  0  9  16  12  13  0 

14  0  2  23  11  10  4 

17  2  5  18  12  7  6 

9  3  3  19  13  9  3 

2  0  13  12  10  IS  0 

7  1  13  11  9  12  4 

24  0  3  22  7  9  9 

23  18  4  3  24  1  0 

11  IS  4  6  21  3  1 

3  IS  10  0  21  '4  0 

25  7  9             9            10           13             2 
1            21  4              0            23              2              0 

18  0  7            18              2            13            10 

12  0  9            16              2            18              5 

5  3  13              9              3            14              8 
The  varying  difficulty  of  the  questions  may  be 

explained  as  in  the  case  of  the  first  film.     The  ques- 

(Concludcd  on  page  20) 


Page  10 


The  Educational  Screen 


Some  Common  Causes  of  Damage  to 
Slides  and  Films 


PROBABLY  the  most  frequent  cause  of  damage  to 
films  is  a  bent  reel.  If  the  lip  of  the  reel  is  bent 
inward  at  one  point  it  is  apt  to  catch  the  film  at 
each  round  and  tear  or  cut  it  along  one  edge.  When 
one  edge  of  a  film  is  damaged  at  regular  intervals  this 
is  very  likely  the  cause.  Such  damage  is  irrepairable 
and  can  only  be  rectified  by  complete  replacement. 
This  same  damage  may  be  caused  by  a  point  being  bent 
out  far  enough  to  contact  the  reel  box  and  thus  throw 
the  reel  out  of  plumb  which  in  turn  drags  the  film  over 
the  reel  edge.  Toed-in  reels  catch  the  film  and  put  a 
strain  on  it.  Films  may  be  damaged  as  easily  on  a  re- 
wind as  on  a  projector.  The  rewind  units  (if  they  are 
separate)  must  be  in  line,  otherwise  the  film  slaps 
against  the  reel  and  may  be  cut.  Films  should  never 
be  rewound  rapidly  (the  mile-a-minute  rewinding 
causes  havoc  with  film)  since  there  is  bound  to  be 
some  slapping  against  the  reel  and  consequent  damage. 

Torn  or  enlarged  sprocket  holes  is  another  type  of 
damage.  This  is  due  to  several  possible  causes.  If  the 
holes  are  torn  on  both  sides  it  is  apparently  due  to  some 
extra  strain,  or  pull,  having  been  put  on  the  whole 
film.  And  this  in  turn  may  be  caused  by  letting  the 
loops  become  too  small,  or  a  tension  screw  to  become  too 
tight.  If  the  damage  appears  only  on  one  side  of  the 
film  it  is  perhaps  due  to  either  a  dirty  sprocket  tooth 
or  to  a  hooked  tooth.  The  hooked  tooth  can  only  be 
detected  with  a  microscope.  Neither  the  dirty  or 
hooked  sprocket  tooth  w-ill  tear  or  enlarge  every  hole 
on  one  r.ide  of  the  film,  but  only  those  it  contacts ; 
hence,  the  damage  will  be  of  recurring  kind — every 
third  or  fourth  hole,  for  example. 

Scratches  are  made  on  film  by  bits  of  hardened  emul- 
sion becoming  caked  on  the  edge  of  the  aperture  (hole 
through  which  the  film  is  shown).  These  bits  of 
hardened  emulsion  may  be  very  small,  but  they  cut 
deeply  into  the  surface  of  the  film.  They  can  be  re- 
moved by  lightly  scraping  with  a  penny,  this  being 
copper  is  fairly  soft  metal  and  will  not  scratch  the 
metal  of  the  aperture  plate.  A  touch  of  moisture  will 
help  in  this  operation.  Scratches  cannot  be  removed 
from  film,  and  thus  require  replacement  of  the  film. 
The  source  »f  scratches  can  be  traced  by  the  exchange 
to  identical  patterns  found  on  two  reels  from  the  same 
school. 

Blisters  are  made  on  film  by  allowing  the  film  to 
stand  too  long  before  the  light.  Stop-on-film  devices 
should  be  used  with  extreme  caution.  They  are  sel- 
dom of  any  great  use  and  they  certainly  do  cause  much 
damage  to  films  by  thoughtless  users.    We  have  known 


By     B.     A.     AUGHINBAUGH 

Director  of  Visual   Instruction,  State  of  Ohio,  Columbus 

teachers  to  put  a  blister  on  a  reel  of  film  at  every  new 
scene.    This  is  pure  vandalism. 

Brittlcness  in  films  may  be  caused  bv  lack  of  mois- 
ture in  the  texture  or,  in  cold  weather,  by  low  tem- 
perature. It  is  well  to  allow  films  to  remain  in  a  room 
until  they  approach  room  temperatvire  before  project- 
ing them.  Dryness  may  be  overcome  by  wrapping  the 
reel  in  a  damp  (not  wet)  cloth  and  leaving  it  for  a 
few  hours.  One  objection  to  circuiting  films  is  the 
likelihood  of  their  becoming  dry  from  the  heat  of  the 
projectors  and  no  moisture  returned  by  the  use  of 
humidors.  We  have  put  sponges  in  the  lids  of  our 
shipping  cans  to  overcome  this  to  some  extent.  These 
sponges  should  be  kept  damp  (not  wet)  by  those  on 
the  circuit. 

Misframes  (pictures  half  up  and  half  down)  are 
due  to  improper  patching  of  films.  All  splices  are  made 
by  the  exchange  with  a  splicing  device,  which  assures 
smoothness  and  accuracy.  A  splice  should  never  ex- 
ceed one  sprocket  hole  in  width  and  it  should  not  be 
made  with  an  excessive  amount  of  cement  as  this 
makes  it  hard  and  thick.  The  splice  should  extend  to 
the  very  edge  of  the  film,  otherwise  the  film  will  curl 
up  at  that  point.  Film  should  never  be  cemented  with 
any  cement  but  that  obtained  in  a  photo  supply  house 
.selling  motion  picture  film  of  the  16  mm  or  smaller 
size.  All  of  non-inflammable  film,  both  35  mm  and 
16  mm,  requires  the  type  of  cement  mentioned,  which 
is  for  16  mm  film  (and  all  16  mm  is  non-inflammable). 
Schools  using  theatrical  films  as  well  as  non-inflam- 
mable films  are  the  worst  oflfenders  in  this  respect 
as  the  boys  who  are  allowed  to  do  the  operating  do 
not  know  the  difference  in  the  two  kinds  of  films  and 
think  any  cement  will  do.     But  this  is  not  the  case. 

Careless  operators.  We  debated  whether  or  not  to 
put  this  cause  first.  It  is  said  that  most  auto  accidents 
are  due  to  youthful  drivers.  It  is  a  characteristic  of 
youth  to  presume  knowledge  not  possessed,  and  in  this 
day  almost  every  boy  thinks  he  is  a  finished  mechanic. 
He  probably  reaches  this  conclusion  from  seeing  the 
unschooled  workmen  who  are  willing  to  pass  judgment 
on  any  ailment  of  a  motor  car  that  falls  into  their  gar- 
age clutches.  The  superintendents,  principals,  and 
teachers  probably  know  more  about  a  motion  picture 
projector  than  these  boys,  only  they  have  a  finer  sense 
of  modesty.  It  is  the  old  story  of  "fools  rushing  in", 
etc.  We  have  yet  to  see  the  school  boy  who  could  be 
allowed  to  take  charge  of  projection  work  without 
careful  supervision  of  a  teacher.     If  they  do  nothing 

{Concluded  on  page  31) 


January,  193  6 


Page  11 


The  Church  Field 


Yale  Divinity  School  Has 
Motion  Picture  Seminar 

THAT  the  topsy-like  growth  of  motion  pictures 
in  church  life  is  gradually  evolving  into  a 
planned,  soundly  developed  medium  is  indicated 
by  the  activity  of  educators  in  their  work  with  vis- 
ual aids.  This  is  the  second  year  in  which  the  Di- 
vinity School  of  Yale  University  has  carried  on 
practical  work  in  the  field  of  motion  pictures  for 
which  credit  is  given. 

The  Motion  Picture  Practicum,  as  it  is  called, 
has  been  organized  by  Dr.  Paul  H.  Vieth,  director 
of  field  work  and  associate  professor  of  religious  edu- 
cation at  that  institution.  This  seminar  is  concerning 
itself  with  the  use  of  visual  aids  in  church  programs 
as  part  of  an  effort  to  guide  church  workers  in  a 
more  effective  use  of  projector  and  screen  in  their 
work. 

"Our  original  purpose  in  this  seminar,"  states  Dr. 
Vieth.  "was  to  study  the  use  of  existing  motion 
picture  materials.  It  was  suggested,  however,  that 
one  way  of  educating  ourselves  in  motion  pictures 
would  be  to  try  our  hand  at  production.  Moreover, 
there  are  so  few  visual  aids,  particularly  in  the  mo- 
tion picture,  available  for  use  in  religious  education 
that  it  was  thought  a  development  of  this  sort  in  a 
theological  seminary  might  make  a  contribution  of 
value.  Each  member  of  the  seminar  was  required 
to  select  some  theme  around  which  he  would  de- 
velop a  scenario.  In  this  connection  we  had  expert 
help  from  books  on  the  scenario  and  from  a  person- 
al visit  to  the  Practicum  by  Mr.  Arthur  L.  Gale,  of 
the  Amateur  Cinema  League." 

\Mien  the  end  of  the  school  year  came,  according 
to  Dr.  Vieth,  only  one  of  the  scenarios  which  had  been 
developed  seemed  suitable  for  filming.  This  was  a 
simple  story  for  children  about  the  ages  of  nine  to 
twelve.  It  interpreted  the  petition  Forgive  Us  Our 
Trespasses  from  the  Lord's  Prayer. 

Another  member  of  the  seminar,  however,  had 
produced  a  scenario  in  another  course  on  the  Chris- 
tian family.  The  subject  was  concerned  with  the 
education  of  children  in  the  use  of  money.  The 
scenario  was  designed  for  use  in  parent  education. 
Even  though  only  one  member  of  the  seminar 
was  available  in  New  Haven  during  the  summer,  it 
was  considered  desirable  to  develop  these  two 
scenarios  into  picture  form.  The  work  accordingly 
was  carried  on  in  co-operation  with  The  Religious 
Motion  Picture  Foundation  with  the  assistance  of 
a  commercial  photographer.  While  the  ideal  plan, 
according  to  those  responsible  for  the  work,  would 
have  been  to  have  the  whole  first  year's  Practicum 


Conduc+ed  by  MARY  BEATTIE  BRADY 

Director,    Harmon    Foundation,    New   York   City 


participate  in  the  making  of  the  pictures,  for  many 
reasons  this  was  not  possible  and  it  was  decided  to 
push  the  work  forward  so  as  to  have  some  tangi- 
ble, original  work  around  which  the  second  year's 
Practicum  could  center  its  attention  during  the  first 
semester  of  the  school  year  1935-36. 

When  the  pictures  were  completed  and  studied 
by  Dr.  Vieth  and  the  representatives  of  the  Foun- 
dation, it  was  found  that  while  interesting  they 
were  neither  sufficiently  satisfactory  from  the 
standpoint  of  photography  or  the  general  arrange- 
ment of  the  film  to  consider  the  experiment  com- 
plete. In  other  words,  the  first  filming  of  these 
scenarios  represented  simply  a  stage  not  only  in  the 
production  of  the  finished  picture  but  also  in  the 
prior  preparation  of  scenario  and  specifications  for 
filming  procedure. 

In  accordance  with  the  plan,  therefore,  it  was 
arranged  that  the  first  edition,  so  to  speak,  of  these 
pictures  would  be  studied  this  year  by  the  members 
of  the  seminar,  shown  to  various  critical  groups  and 
suggestions  for  revision  and  improvement  consid- 
ered. 

During  the  second  semester  of  this  school  year, 
again  with  the  co-operation  of  The  Religious  Mo- 
tion Picture  Foundation,  it  is  planned  to  have  the 
Practicum  as  a  whole  do  the  refilming  of  these  sub- 
jects, thus  effecting  a  teaching  blue  print  for  crea- 
tive work  in  visual  life  situation  material  for  re- 
ligious eduction.  As  stated  by  Dr.  Vieth,  this  whole 
undertaking  has  been  primarily  an  educational  one 
for  those  engaged  in  it.  They  have  had  an  oppor- 
tunity not  only  to  consider  the  making  of  effective 
pictures  for  religious  education,  but  also  to  follow 
through  stage  by  stage  the  process  of  their  evolu- 
tion from  ideas  to  tangible  results.  While  Dr.  Vieth 
makes  it  clear  that  Yale  Divinity  School  has  no 
thought  of  entering  extensively  into  the  production 
of  motion  pictures,  he  suggests  that  it  is  possible 
that  if  this  type  of  educational  work  is  continued 
a  few  other  subjects  incorporating  further  phases 
of  experimentation  may  be  developed  as  the  result 
of  the  interest  created  in  what  has  been  accomplished 
thus  far. 

Mission  Work  to  be  Dramatized 

in  Motion  Pictures 

An  innovation  long  desired  by  those  in  the  religious 
motion  picture  field  is  at  last  in  sight.  The  Board  of 
Foreign  Missions  of  the  Methodist  Episcopal  Church 
in  consultation  with  the  Religious  Motion  Picture  Foun- 


Page  12 


The  Educational  Screen 


dation  is  arranging  to  have  one  of  its  missionaries  in 
the  field  produce  a  motion  picture  from  a  formal 
scenario. 

In  the  past  most  films  produced  by  missionaries  have 
been  a  conglomerate  of  incidental  scenes  picked  up 
around  their  respective  stations.  In  this  case  the  Meth- 
odist Board  has  enrolled  the  missionary,  the  Reverend 
W.  S.  Reinoehl  of  Singapore,  S.S.  in  the  Amateur  Cin- 
ema League  and  has  had  the  League  send  him  helpful 
literature  on  the  making  of  motion  pictures.  Mr. 
Reinoehl  is  to  prepare  the  preliminary  scenario  for  a 
dramatic  picture,  weaving  it  around  his  o-wn  experi- 
ences and  those  of  other  missionaries  in  his  field.  This 
scenario  is  then  to  be  sent  to  the  Board  which  will  go 
over  it  with  the  Religious  Motion  Picture  Foundation 
and  the  Amateur  Cinema  League,  who  will  criticize  it 
and  make  suggestions  from  the  technical  point  of  view. 
After  the  scenario  has  been  polished  up  and  rewritten 
it  will  be  returned  to  Mr.  Reinoehl  who  will  then — and 
not  until  then — start  filming  the  picture. 

Girls'  Friendly  Society  Outstanding  Example 
of  Motion  Picture  Interest 

An  organization  which,  for  a  number  of  years, 
has  taken  a  very  constructive,  stimulating  attitude 
toward  motion  pictures  is  the  Girls'  Friendly  So- 
ciety of  the  U.  S.  A.  This  organization  is  sponsored 
by  the  Protestant  Episcopal  Church  of  America,  but 
its  membership  is  open  to  any  girl  who  wants  to 
join,  regardless  of  race,  creed,  color  or  age. 

Their  program  during  the  current  year  is  on 
Christian  citizenship.  The  October  issue  of  their 
monthly  magazine  was  given  over  entirely  to  a  con- 
sideration of  the  motion  picture.  While  the  main 
emphasis  on  this  subject  at  the  present  time  has  to 
do  with  understanding  and  appreciation  of  com- 
mercial motion  pictures  as  entertainment  in  a  com- 
munity^  the  organization  has  nevertheless  stressed 
in  its  program-building  the  place  of  motion  pictures 
designed  for  general  non-theatrical  use.  In  fact, 
the  Society  has  a  motion  picture  which  demon- 
strates its  work.  Realizing  how  often  girls  go  to 
the  movies,  it  was  felt  by  leaders  of  the  organiza- 
tion that  an  understanding  of  the  best  pictures  was 
important. 

The  first  part  of  the  program,  which  was  undertaken 
on  the  theme  of  Let's  Go  to  the  Movies  centered  around 
the  idea  of  helping  its  own  members  choose  the 
better  pictures  in  movies.  This  included  prepara- 
tion of  a  list  of  questions  to  be  used  in  Society 
meetings  on  "Do  You  Know  Your  Movies?",  "Get- 
ting Your  Money's  Worth  at  the  Movies".  Sug- 
gestions for  discussion  programs  on  what  was  seen 
and  on  developing  standards  for  appraisal  of  pic- 
tures have  been  included  in  these  program  outlines. 
People  who  have  been  studying  motion  pictures 
from  the  point  of  view  of  churches  and  allied  or- 


ganizations believe  that  the  Girls'  Friendly  Society 
is  as  movie-minded  in  a  constructive  way  as  any 
group  in  the  country  today. 

The  appreciation  of  the  leaders  of  the  Girls' 
Friendly  Society  of  the  value  of  motion  pictures  is 
increasingly  shown  not  only  in  the  emphasis  they 
are  placing  on  the  selection  of  the  best  in  motion 
pictures  as  entertainment  but  in  the  use  of  this 
method  of  expression  in  their  own  meetings  which 
are  concerned  with  practical  understanding  and  par- 
ticipation in  worth  while  activities  of  the  world  in 
which  we  live. 

Film  Activities  Among  the  Denominations 

To  capture  in  motion  pictures  the  activities  inci- 
dent to  the  hundredth  anniversary  of  Baptist  mission 
work  in  India,  Mr.  Harry  Myers,  Secretary,  Stereop- 
ticon  Lectures,  Moving  Pictures,  Exhibits  Department 
of  the  Northern  Baptist  Convention,  has  gone  to  the 
Orient  on  a  special  assignment  that  will  keep  him  away 
until  the  spring  of  1936.  Mr.  Myers  will  visit  the  lead- 
ing Baptist  mission  stations  in  Burma  and  along  the 
eastern  coast  of  India  from  Madras  north.  In  addi- 
tion to  material  dealing  with  the  work  of  the  missions, 
Mr.  Myers  plans  to  film  general  environmental  ma- 
terial of  the  life  and  cultures  of  the  sections  he  visits. 
It  is  planned  to  have  the  film  edited  in  time  for  the 
Annual  Northern  Baptist  Convention  meeting  in  St. 
Louis,  May,  1936. 

In  the  Methodist  Episcopal  Church,  Reverend  Jay 
S.  Stowell  of  the  Board  of  Home  Missions,  Methodist 
Episcopal  Church,  Philadelphia,  Pennsylvania,  has 
films  of  a  number  of  interesting  church  activities,  and 
is  giving  increasing  attention  to  motion  picture  ma- 
terial. In  the  Methodist  Board  of  Foreign  Missions, 
New  York  City,  several  pictures  of  mission  work 
abroad  are  available,  and  cooperation  is  given  to  mis- 
sionaries interested  in  motion  pictures  in  planning  their 
preparation  for  picture  work  which  gives  promise  of 
eflfective  use  in  churches  throughout  the  United  States. 

In  the  Presbyterian  Church  in  the  U.  S.  A.,  par- 
ticular attention  has  been  given  to  the  motion  picture 
medium  for  a  number  of  years.  The  Board  of  For- 
eign Missions  and  the  Board  of  National  Missions  of 
this  denomination  have  been  outstanding  in  the  making 
and  use  of  film  as  well  aS"  other  visual  material  as  an 
aid  in  promotional  work.  The  new  film  added  to  the 
film  library  this  year  includes  ten  reels  on  Latin  Amer- 
ica. On  Wings  Under  the  Southern  Cross  is  a  three- 
reel  bird's-eye  view  of  Latin  America  and  its  people. 
Single  reels  of  countries  of  South  and  Central  Amer- 
ica, as  well  as  a  ten-reel  picture  of  Mexico  called 
Where  Latin  America  Begins,  are  available.  The 
Board  of  National  Missions  among  other  film  has  pro- 
duced this  year  Skylines,  a  three-reel  study  of  a  great 
metropolitan  center  (New  York)  to  which  the  church 
seeks  to  minister. 


January,  1936 


Page  13 


Film  Production  in  the  Educational  Field 


EDUCATIONAL  institutions  are  becoming  more 
conscious  of  the  motion  picture  film  as  a 
valuable  asset  to  present  -  day  teaching  methods. 
We  definitely  know,  for  instance,  that  visual  records 
in  the  form  of  motion  pictures  of  certain  scientific 
phenomena  bring  to  the  student  in  these  fields  a  clearer 
and  more  concise  picture  of  the  events  taking  place 
than  any  other  known  method. 

We  are  all  familiar  with  the  older  system  of 
teaching,  using  only  the  textbook,  lecture  and  reci- 
tation method  whose  success  or  failure  depended 
upon  the  personality  of  the  instructor  and  the  in- 
terpretation of  the  subject  matter  by  the  author  in 
his  textbook.  With  the  motion  picture  film  pro- 
duced in  all  sections  of  the  world  the  customs,  life 
and  activity  of  these  people  may  be  brought  before 
the  eyes  of  the  student  in  a  true  and  unbiased  light 
at  the  will  of  the  instructor.  It  is  readily  seen  that 
if  the  film  is  planned  as  an  integral  part  of  a  course 
of  study  it  soon  becomes  an  invaluable  aid. 

Many  films,  made  specifically  for  teaching  pur- 
poses by  eminent  authorities,  constitute  our  present 
stock  of  genuine  "educational  films".  In  addition, 
there  have  been  produced  some  films  of  educational 
value  by  various  industrial  and  manufacturing  con- 
cerns as  well  as  by  various  travel  organizations. 
The  efforts  in  making  available  on  16mm.  film 
many  valuable  theatrical  productions,  which  would 
otherwise  be  unobtainable  to  the  average  school,  is 
particularly  commendable.  We  find  however,  that 
in  some  cases  the  material  as  presented  is  in  a  form 
too  general  to  be  of  maximum  service  for  certain 
types  of  classroom  use. 

To  meet  this  objection  there  is  a  growing  interest 
in  the  production  of  instructional  films  by  educa- 
tional institutions.  Here  the  film  is  made  under 
the  direct  supervision  of  the  teacher  or  in  some 
cases  by  the  teacher  himself.  It  seems  likely  that 
in  the  future  a  substantial  number  of  teaching  films 
will  be  produced  in  this  manner.  Then  by  coopera- 
tive exchange  with  other  producing  areas  there  may 
be  built  up  a  national  film  library  covering  many 
phases  of  educational  activity.  The  resulting  film 
library  should  become  a  very  important  and  valu- 
able factor  in  the  present  educational  system. 

There  im.mediately  arises  the  problem  of  quality 
and  technique  in  the  films  which  will  be  produced 
by  the  school.  It  seems  logical  to  suppose  that  al- 
most all  of  the  films  produced  non-professionally 
will  be  made  on  16mm  size,  sometimes  referred  to 
as  "Amateur  Movies".  Experience  has  shown  that 
when  an  audience  views  a  16mm.  film  in  a  home 


Conducted  by  F.  W.  DAVIS 

Department  of  Photography 
Ohio  State  University,  Columbus 


or  other  informal  gathering  they  are  prone  to  over- 
look certain  shortcomings  in  technical  photography, 
planning,  scenario,  etc.  No  such  lenience  occurs 
when  the  film  is  shown  to  a  large  class  or  in  an 
auditorium.  Here  it  is  critically  compared  to  the 
professional  production  seen  in  the  theatre.  There- 
in rises  much  of  the  adverse  criticism  of  the  present 
day  16mm.  teaching  films. 

This  comparison  is  both  unfortunate  and  fortu- 
nate for  the  future  of  this  type  of  film.  In  the  first 
place  it  seems  highly  improbable  that  many  schools 
and  universities  would  ever  have  equipment  includ- 
ing cameras,  illumination  equipment,  backgrounds, 
personnel  and  the  other  elaborate  and  costly  items 
for  the  production  of  the  professional  type  films. 
However  this  critical  judgment  is  a  very,  valuable 
asset  in  obtaining  as  high  a  standard  of  16mm.  film 
as  possible.  On  the  other  hand  such  elaborate 
equipment  is  often  unnecessary  for  the  production 
of  educational  films.  The  prime  requisite,  however- 
is  a  complete  mastery  of  the  technical  operation, 
possibilities  and  limitations  of  the  small  equipment. 

The  trouble  in  the  past  has  been  that  anyone  pos- 
sessing a  16mm.  camera  of  any  type  and  an  ele- 
mentary knowledge  of  photography  has  felt  quali- 
fied to  produce  films.  As  a  matter  of  fact,  many  of 
these  cameras  have  definite  technical  limitations. 
On  the  other  hand,  with  proper  16mm.  equipment 
one  can  obtain  results  in  the  production  of  educa- 
tional films  comparing  very  favorably  with  the  larger 
35mm.  equipment. 

Many  excellent  16mm.  films  have  already  been 
produced  in  various  areas.  Unfortunately  some  of 
these  have  had  very  little  publicity  and  are  gen- 
erally unknown  to  school  people.  If  information 
concerning  these  films  was  available,  duplications 
in  certain  fields  would  be  avoided  and  more  effort 
could  be  placed  on  original  productions.  A  further 
result  would  be  more  extensive  vise  of  the  films  now 
available. 

These  remarks,  however,  should  not  lead  over- 
enthusiastic  teachers  to  believe  that  16mm.  produc- 
tion is  simple  and  easy.  Satisfactory  production 
in  this  field  involves  many  factors  with  which  one 
should  become  familiar  before  attempting  such 
work.  Prospective  producers  of  educational  films 
must  know  the  mechanics  of  motion  picture  equip- 
ment, types  of  lighting,  editing  and  selection  of 
titles.     Although  technical  excellence  is  a  primary 

(Concluded  on  page  27) 


Page  14 


The  Educational  Screen 


The  Film  Estimates 


Alias  Bulldog:  DrummondCJack  Hulbert,  Claud 
Hulbert)  (G-B)  Super-detective  theme  complete- 
ly and  deftly  burlesqued,  in  typically  English 
style.  Action  more  lively  than  violent,  dialog 
amusing  without  wisecracks,  villains  who  are 
not  "tough  guys".  Subtle,  intelligent,  laugh- 
able. English  spoken  throughout.  12-24-35 
(A)  Entertaining          (Y)  Good           C)  Exciting 

Annie  Oakley  (Barbara  Stanwyck,  Preston 
Foster)  (RKO)  Hilarious  costume  comedy  of 
Buffalo  Bill  days,  mixing  history,  slapstick  and 
elemental  human  appeal.  Enough  color,  fast 
action  and  low  comedy  to  outweigh  faults  of 
jerky  continuity,  glaring  improbabilities,  and 
very  unsympathetic  hero.  12-10-35 

(A)  Good  of  kind  (Y)  Good  (C)  Good 

Born  for  Glory  (English  production)  (G-B) 
Pictures  vividly  life  and  spirit  of  British 
navy,  in  peace  and  war,  exemplified  by  young 
hero  who  lives  up  to  his  heroic  inheritance. 
Weakened  by  artificial  plot,  strained  coinci- 
dence, and  some  unintentionally  comic  shoot- 
ing scenes.  1-7-36 
(A)  Hardly                  (Y)  Perhaps                  (C)  No 

Thft  Case  of  the  Lucky  Legs  (Warren  Wn- 
liam,  Genevieve  Tobin)  (Warner)  Perry  Mason 
mystery  story  made  into  unrecognizable  jazz. 
Heavy-drinking-lawyer-detective-hero  made  so 
flippant  and  smart-aleck  that  farce  comedy  be- 
comes burlesque  and  mystery  is  lost  in  fast  tem- 
po, complexity,  and  struggle  for  laughs.  12-17-35 
(A)  Hardly  (Y)  Perhaps  (C)  No 

Collegiate  (Jack  Oakie,  Joe  Penner)  (Para.) 
Gay,  irresponsible  playboy  inherits  Girls'  school, 
turns  it  into  "Charm  School"  featuring  dance 
and  music,  and  makes  it  pay.  Preposterous 
and  silly  farce  with  a  few  amusing  spots  by 
the  four  comedians.  Oakie's  "singing"  an- 
other feature.  12-31-35 
(A)  Absurd                       (Y)  (C)  Perhaps  amusing 

Coronado  (Jack  Haley,  Leon  Errol)  (Para.) 
Crude  concoction  about  sailor  and  girl  whose 
father  refuses  to  believe  them  married.  Cheap- 
ly risque  in  parts,  and  the  rest  suffers  from 
stale  hokum  and  mediocre  acting.  Leon  Er- 
rol's  extensive  clowning  is  only  feature  of  any 
interest.  12-24-35 

(A)  Mediocre  (Y)  Poor  (C)  No 

Crime  and  Punishment  (Peter  Lorre,  Edward 
Arnold)  (Columbia)  Powerful  screening  of  Dos- 
toyevski's  grim  tale  about  brilliant  murderer, 
leaving  no  clews,  driven  by  conscience  to  con- 
fess. Arnold  splendid  as  detective.  Lorre  sin- 
ister and  weirdly  gripping  as  hero,  but  gro- 
tesque and  repulsive  as  lover.  12-17-35 
(A)Fineof  kind    (Yj  Doubtful    (C)  By  no  means 

Dance  Band  ( Buddy  Rogers,  June  Clyde ) 
(1st  Division)  Most  of  footage  is  devoted  to 
band  music,  for  hero  and  heroine  are  rival 
orchestra  leaders  working  for  prize  in  band 
contest.  Wholesome  little  romance  between 
persistent  hero  and  scornful  heroine  is  mildly 
diverting.  12-31-35 

(A)  Thin         (Y)  Harmless         (C)  If  it  interests 

Eagle's  Brood,  The  (Bill  Boyd,  Wm.  Allison) 
(Para.)  Another  Hopalong  Cassidy  western 
with  Boyd  doing  his  heroics  in  usual  style. 
Heavy  gang-villainy  accomplishes  many  shoot- 
ings, including  cold-blooded  murder  of  leading 
lady,  until  Boyd  and  pal  save  little  grandson 
of  aged  Mexican  outlaw,  etc.  1-7-36 

(A)  Hardly  (Y)  Hardly  (C)  No 

East  of  Java  (Charles  Bickford)  (Univ.) 
Old-style  thriller  built  solely  for  shudders. 
Sinister  ship,  oriental  crew,  caged  lions,  wreck, 
desert  island,  gruesome  dangers,  with  tough, 
two-fisted,  escaped-criminal  hero  to  run  the 
killings,  threaten  heroine's  virtue,  and  finally 
die  to  save  her !  12-24-35 

(A)  Depends  on  taste  (Y)  No  (C)  No 

'Frisco  Kid  (Jas.  Cagney,  Margaret  Lindsay) 
(Warner)  Notorious  Barbary  Coast  sensation- 
alized to  the  limit.  Tough  hero  rises  to  peak 
of  gambling  power,  till  only  Vigilantes  can  end 
vice  and  violence.  Heroine,  crusading  editor's 
daughter,  subdues  and  saves  hero  from  noose 
and  for  herself.  12-10-35 

(A>  Gd.  of  kind    (Y)  Unwhole.    (C)  By  no  means 

Grand  Exit  (Edmund  Lowe,  Ann  Sothern) 
(Colum.)  Usual  detective  role  for  Lowe.  He 
deftly  solves  arson  mystery  and  skilfully  nurses 
a  romance,  though  heroine  is  one  of  the  sus- 
pects. Much  fire-alarm  excitement  and  con- 
stant smart-aleck  dialog  by  supremely  self- 
satisfied  hero  and  others.  12-10-35 
(A)  Depends  on  taste     (Y)  Amus.     (C)  Doubtful 

Guard  That  Girl  ( Robert  Allen,  Florence 
Rice)  (Columbia)  Thoroughly  puzzling  thriller, 
uneven  in  quality  but  with  plot  satisfy ingly 
complex  and  ingenious,  suspense  well  main- 
tained and  agreeable  romantic  interest.  Act- 
ing not  the  best  and  characters  not  always 
convincing,    unfortunately.  1-7-36 

(A)  Fairly  good  (Y)  Good  (C)  Hardly 


Being  the  Combined  Judgments  of  a  National  Committee  on  Current  Theatrical   Films 

(The  Film   Estimates,  In  whole  or  in  part,  may  be  reprinted 

only  by  special   arrangement  with  The   Educational   Screen) 

Date    of   mailing    on    weekly    service    is    shown    on    each    film. 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 


I  Dream  Too  Much  (Lili  Pons,  Henry  Fon- 
da) (RKO)  Pleasing  little  story  of  opera- 
singer  who  wanted  her  small-guage  husband 
and  a  baby  more  than  a  glamorous  stage-ca- 
reer. Fine  music,  classical  and  popular,  and 
notable  for  Lili's  charm,  unmistakable  acting 
talent  and   glorious   singing.  1-7-36 

(A)  Enjoyable  (Y)  Excellent   (C)Mature  but  gd. 

I  Found  Stella  Parish  (Ian  Hunter,  Kay  Fran- 
cis, Sybil  Jason)  (Warner)  Romantic  melodrama 
of  notable  quality  and  fine  dialog.  From  Lon- 
don stage  success,  innocent  heroine's  unfortu- 
nate past  drives  herself  and  child  into  exile. 
Star  reporter  seeks,  finds,  loses,  and  wins. 
Hunter  and  Jason  roles  excellent.  12-17-35 

(A)  Interesting        (Y)  Good        (C)  Beyond  them 

The  Great  Impersonation  (Edmund  Lowe) 
(Univ.)  Wildly  improbable  thriller  with  Lowe 
in  double-identity  role  so  perfect  that  double's 
wife  believes  him  her  returned  husband.  Heavy 
melodrama  of  gigantic  war  plot  with  lunatic 
complications.  Dialog,  however,  in  passable 
English   instead   of  wisecracks.  12-24-35 

(A)  Dep.  on  taste      (Y)  Doubtful  value      (C)  No 

The  Littlest  Rebel  (Shirley  Temple,  John 
Boles)  (Fox)  Civil  War  story  of  South  with 
elaborate  role  amazingly  well  played  by  this 
extraordinary  little  star.  Supporting  cast  some- 
times heavy  and  wooden.  Comedy,  charm, 
thrill,  and  especially  pathos.  Shirley's  finest 
work  to  date.  12-24-35 

(A)  Exceptional    (Y)  Excel.    (C)  Unless  too  sad 

The  Man  Who  Broke  the  Bank  at  Monte  Car- 
lo (Ronald  Colman,  Joan  Bennett)  (Fox)  Ad- 
venture story  with  slight  plot,  gaily  and  pleas- 
antly done.  Colman  engaging  as  impecunious 
Russian  nobleman.  Makes  fortune  at  Monte  Car- 
lo, falls  in  love  with  heroine  hired  to  lure  him 
back,  loses  money  but  wins  heroine.  12-31-35 
(A)(Y)  Entertaining  (C)  No  interest 

Maria  Chapdelaine  (French  production,  Eng- 
lish titles)  (Atlantic)  Masterpiece  of  charm  and 
power  showing  life-struggle  of  French-Canadi- 
ans, God-fearing,  life-loving,  uneducated  coun- 
try folk,  devoted  to  tradition  and  family,  strong 
in  simplicity  of  motive  and  character.  Famous 
novel  finely  screened.  12-24-35 

(A)Notable     (Y)Excel.     (C)Mostly  beyond  them 

Metropolitan  (Lawrence  Tibbetts,  Virginia 
Bruce)  (Fox)  Thin  story  built  expressly  as  frame 
for  operatic  arias  and  songs  finely  rendered 
with  usual  Tibbetts  vigor.  His  acting  is  highly 
self-confident,  expansive,  explosive,  but  hardly 
satisfying.  Many  moments  unconsciously  com- 
ic, or  less  comic  than  intended.  12-17-35 
(A)  Fair            (Y)  Fairly  good            (C)  Harmless 

The  Morals  of  Marcus  (Lupe  Velez,  Ian  Hunt- 
er) (British-Gaumont)  Fair  screening  of  W.  J. 
Locke  story  about  English  girl  escaping  Turk- 
ish harem,  attaching  herself  to  unsentimental 
English  archaeologist,  and  winning  out  to  wife- 
hood. Caddish  villain  manages  to  insert  ob- 
jectionable dialog  and  action.  12-10-35 
(A)  Fairly  good            (Y)  Better  not  (C)  No 

Music  is  Magic  (Alice  Faye,  Bebe  Daniels, 
Ray  Walker)  (Fox)  Lively  musical  comedy  sa- 
tire on  Hollywood  about  fading,  tempermental 
movie  star  (well  played  by  Bebe)  and  an  aspir- 
ing vaudeville  troupe  that  finally  succeeds  in 
getting  into  the  movies.  Slapstick  antics  of 
Mitchell  and  Durante  get  tiresome.  12-31-35 
(A)  Fair  of  kind     (Y)  (C)  Probably  entertaining 

The  Old  Homestead  (Mary  Carlyle,  Lawrence 
Gray)  (Liberty)  Ordinary  comedy,  elementary 
in  plot  and  acting,  dubbed  with  famous  title. 
Heroine  gets  rural  quintette  chance  at  radio 
in  big  city.  Proves  unhappy  venture,  hero  goes 
woman-chasing,  but  finally  back  to  country 
for   happy  ending.  12-10-35 

(A)  Mediocre     (Y)  Perhaps      (C)  Little  interest 

One  Way  Ticket  (Walter  Connolly,  Lloyd 
Nolan)  (Columbia)  Good  acting  in  implausible 
tale  of  romance  born  behind  prison  walls. 
Fine  daughter  of  prison-guard  captain  marries 
escaped  convict  who  is  finally  caught  and 
brought  back  to  finish  sentence.  Ethics  a  bit 
dubious  in  spots.  12-31-35 

(A)  Perhaps  (Y)  Doubtful  (C)  No 

Over  Night  (Robt.  Donat,  Pearl  Argyle)  (Gau- 
mont-British)  Finely  acted  light  melodrama 
about  country  bank  clerk  who  yearns  for  city 
thrills,  "borrows"  bank  funds  and  entrains  for 
London.  Smooth  train  acquaintance  scents  easy 
money,  but  heroine,  unwilling  member  of  gang, 
saves  all.     Three  notable  roles.  12-17-35 

(A)  Rather  good  (Y)  Good  (C)  Perhaps 


Rose  of  the  Rancho  (Gladys  Swarthout,  John 
Boles )  ( Para. )  The  famous  Belasco  stage- 
play  becomes  a  rather  antequated  western, 
with  the  action  slowed  down  to  musical-com- 
edy tempo.  Swarthout's  singing  is  the  feature. 
Benign  John  Boles  does  the  best  he  can  with 
a   strenuous   he-man   role.  1-7-36 

(A)  Fair       (Y)  Fairly  good       (C)  Little  interest 

Sans  Famille  (French  Production)  (Atlantic 
Films)  Fine  screening  of  famous  Malot  story  of 
kidnapped  English  boy,  reared  in  France,  buf- 
feted by  misfortune,  finally  restored  to  mother. 
Outstanding  work  by  Robert  Lynen,  hero  of 
"Poll  de  Carotte".  Many  scenes  charming,  few 
harsh,  none  dull.  No  English  titles.  12-17-35 
(A)<Y)  Excellent  (C)  Mostly  very  good 

Scrooge  (Sir  Seymour  Hicks  and  English 
cast)  (Para.)  British  film  rendering  truly  and 
beautifully  the  story,  backgrounds  and  spirit 
of  the  immortal  "Christmas  Carol".  Character 
interpretation,  tempo  of  action,  and  especially 
the  role  of  Scrooge  by  Sir  Seymour  would 
please    Dickens    himself.  12-24-35 

(A)  Excellent        (Y)  Excellent        (C)  Excellent 

Ship  Cafe'  (Carl  Brisson,  Arline  Judge) 
(Para.)  InconseQuential  tale  of  a  seaman  who 
becomes  involved  with  a  cheap  night-club,  a 
cheap  girl  and  a  cheap  countess.  Third  rate  at- 
tempts at  songs  and  dances,  feeble  comedy, 
little  material  of  interest  to  anyone.  Supposed 
"smart"   dialog  is  painful.  12-24-35 

(A)  Mediocre  (Y)  Poor  (C)  No 

So  Red  the  Rose  (Margaret  Sullavan,  Walter 
Connolly)  (Para.)  Pictures  charmingly  life  in 
the  Old  South,  sentimental,  idyllic,  till  Civil 
War  brings  terror,  hallucinations,  heartbreak, 
tragedy,  ruin  and  social  chaos.  Beautifully  done 
but  continuous  disaster  make  it  as  depressing  as 
entertaining.      Quite   anti-war.  12-17-35 

( A)  ( Y)  Fine  of  kind  (C)  Doubtful 

Splendor  (Miriam  Hopkins,  Joel  McCrea) 
(U.A.)  Sophisticated  society  drama,  smartly 
produced  but  with  unpleasant  theme  and  wood- 
en hero.  Aristocratic  mother  would  make  son 
marry  money,  but  he  weds  humble  heroine  who 
devotedly  gives  herself  to  rich  patron  to  get  job 
for  husband  to  save  family  finances.  12-31-35 
(A)  Depends  on  taste      (Y)  Unsuitable      (C)  No 

Stormy  (Noah  Beery  Jr..  Jean  Rogers)  (Univ.) 
Melodramatic,  stirring  story  of  ranch  life,  cent- 
ered around  boy  hero's  devoted  love  for  horses. 
His  own  colt  makes  the  complications.  Charac- 
ter interest  and  human  appeal  atone  for  in- 
credibilities and  technical  faults.  Wild  horse 
herd  in   Painted  Desert  notable.  12-10-35 

(A)  Good  of  kind    (Y)  Good    (C)  Excit  but  good 

Sylvia  Scarlett)  Hepburn,  Aherne, Grant)  (RKO) 
Hepburn  does  fine  dual  role  in  appealing  ro- 
mantic whimsy.  Heroine  masquerading  as  boy, 
with  father,  joins  cockney  crook.  They  reform 
and  become  show  troupe.  Their  adventures  make 
delightful  comedy  and  some  grim  pathos.  Lovely 
photography  and  notable  performances,  12-31-35 
(A)  Notable         (Y)  Good  (C)  Little  interest 

Transatlantic  Tunnel  (Richard  Dix.  Leslie 
Banks,  Madge  Evans)  (Gau.-Brit.)  Great  specta- 
cle-drama, ably  done,  of  gigantic  engineering 
task  to  bind  England  and  America.  Done  with 
dignity,  power  and  surprising  convincingness. 
Expertly  achieves  credible  combination  of  hu- 
man interest  and  monstrous  mechanics.  12-17-35 
(A)  (Y)  Very  int.  of  kind    (C)  Perhaps  too  strong 

Two  for  Tonight  (Bing  Crosby.  Joan  Bennett) 
(Para.)  Slapstick  farce  about  crooner  forced 
by  absurd  circumstances  into  playwriting,  and 
his  complex  struggles  to  find  plot  in  real  ex- 
perience. Boland  and  Cossart  amusing.  Mildly 
entertaining  whole,  with  incessant  close-ups  of 
Bing  looking  his  best.  12-10-35 

(A)  Feeble      (Y)  Prob.  good      (C)  If  it  interests 

Your  Uncle  Dudley  (E.  E.  Horton)  (MGM) 
Wholesome  domestic  farce-comedy  of  long-suf- 
fering "booster"  of  small-town  enterprise;, 
with  loving  cups  as  sole  reward,  his  business 
dwindling,  relations  to  be  supported,  and  a  pa- 
tient fiancee.  But  the  worm  turns  at  last  and 
domestic  happiness   is   restored.  12-31-35 

(A)  Gd.  of  kind    (Y)  Amusing    (C)  Fairly  amus. 

Youth  March  (Soviet  newsreel)  (Amkino)  First 
in  series  of  propaganda  reels  showing  glorious 
life  under  Soviet.  Red  Square  in  gala  dress. 
Thousands  of  radiant  youth  and  children  march, 
drill,  maneuver.  Stalin  in  person,  and  in  huge 
portraits,  dominates  all  as  beneficent  father  of 
Russian    progress.  12-10-35 

(A)  Striking      (Y-C)  Int.  unless  thot  mi.sleading 


January,  193  6 


Page  15 


Amons  the  Magazines  and  Books 


Nation's  Schools  (November,  '35)  "Director 
Guides  Teachers  in  Use  of  Visual  Aids,"  by  E. 
\\'inifred  Crawford. 

Excellent  suggestions  are  presented  as  to  the 
most  helpful  relations  between  a  director  of  visual 
education  and  classroom  teachers,  as  to  teachers' 
meetings  for  A'isual  instruction  technique,  and  the 
issuing  of  bulletins. 

National  Board  of  Review  Magazine  (November, 
'35)  "The  Motion  l^icture  and  Music,"  by  Douglas 
Moore,  Department  of  Music,  Columbia  University. 

Harper's  Magazine  for  July  published  an  article  by 
Professor  Moore,  which  is,  in  part,  reproduced  with 
additional  matter.  A  complete  history  of  the  vari- 
ous attempts  to  associate  music  with  pictures,  both 
silent  and  sound,  gives  a  far  better  appreciation  of 
this  difficult  art  to  the  average  person.  A  reaction 
has  set  in  towards  more  and  more  pantomime  and 
less  dialogue.  "The  idea  of  visual  flow  has  been 
rediscovered,  the  magic  of  photography  has  been  at 
least  partly  restored,  and  we  are  now  receiving 
examples  of  greatly  improved  pictures."  It  has  been 
discovered  that  the  new  art  of  the  film  can  much 
more  successfully  reproduce  the  novel  than  it  can 
the  stage.  Directors  learned  that  there  is  as  much 
danger  in  sonorous  as  in  photographic  literalness. 
An  imitative  effect  may  be  distracting  "when  not 
sensitively  related  to  the  underlying  dramatic  val- 
ues." The  timeless  element  of  music  is  illuminated 
Ijy  Prof.  Moore,  since  it  merges  moods  and  emo- 
tions of  the  past  into  the  present  situation,  and 
also  prophetically  reaches  into  the  future  and 
weaves  the  coming  moods  and  emotions  into  what 
now  is.  "The  power  of  music  over  the  imagination 
is  probably  greater  than  that  of  any  other  medium 
of  expression.  ...  It  should  pass  almost  unnoticed 
(in  any  form  of  dramatic  projection)  but  should 
add  to  the  emotional  reaction  of  the  audience  un- 
consciously. It  would  be  a  great  feather  in  the 
cap  of  the  young  art  of  the  motion  picture  if  it 
could  realize  the  musical  possibilities  which  the 
theatre  has  so  largely  ignored." 

The  Forum  (November,  '35)  "Mickey  vs.  Pop- 
eye,"  by  William  deMille. 

A  recent  vote  amongst  school  children  to  decide 
upon  the  relative  popularity  of  Mickey  Mouse  and 
Popeye  indicates  a  probable  victory  for  the  latter 
by  a  small  number  of  votes.  "This  is  amazing  and 
revolutionary  .  .  .  Must  the  gentle  altruism  of 
Mickey  bow  to  the  rugged  individualism  of  Pop- 
eye?"  Under  the  drive  of  modern  progress  and 
world  mechanization,  the  right  and  left  schools  of 


Conducted  by  STELLA  EVELYN  MYERS 


juvenile  philosophy  have  each  evolved  their  own 
appropriate  symbols:  "Mickey,  a  veritable  Sir  Gala- 
had, polished,  courteous,  unselfish,  and  full  of  a 
great  desire  to  help  the  world ;  Popeye,  sinister,  self- 
assertive,  worshipping  strength  rather  than  justice, 
determined  to  dominate  rather  than  to  help.  Should 
Popeye  commit  an  uncouth  act  ...  he  excuses  it 
by  the  nearest  approach  to  an  apology  he  can  find 
in  his  nature — 'I  yam  what  I  yam,  and  that's  all  I 
yam'." 

Mr.  deMille  deplores  Popeye,  like  a  Hun  from 
the  North,  threatening  the  cultural  supremacy  of 
Mickey  and  Minnie.  It  means  even  the  disintegra- 
tion of  domestic  ideals  and  the  integrity  of  the 
American  home.  As  to  physical  expression,  we 
find,  "Mickey's  voice,  gentle,  childish,  charming; 
Popeye's  rough,  raw,  and  raucous.  Mickey's  grace- 
ful movements  and  his  long  and  expressive  tail  are 
poetry,  whereas  Popeye's  movements  are  uncouth, 
jerky,  expressive  of  power  without  beauty." 

The  explanation  of  the  vote  being  almost  a  tie. 
is  possibly  in  the  fact  that  both  of  these  figures  dis- 
play the  quality  of  courage.  No  two  heroes  since 
the  world  began  have  so  frequently  dared  the  im- 
possible as  these  two.  By  all  the  laws  of  nature 
and  man  the  two  have  died  a  thousand  deaths. 
"They  both  achieve.  Each  in  his  own  way  strives 
to  solve  the  world's  problems.  It  will  be  interest- 
ing to  see  which  will  dominate  the  future  thought 
»» 

Collier's  (October  26,  '35)  "Everybody's  Lan- 
guage", by  Winston  Churchill. 

The  development  of  the  genius  of  Charlie  Chap- 
lin in  the  American  environment,  producing  in  him 
the  king  of  pantomimic  art,  is  thoughtfully  ana- 
lyzed. "It  is  the  supreme  achievement  of  Mr.  Chap- 
lin that  he  has  revived  in  modern  times  one  of  the 
great  arts  of  the  ancient  world."  This  art  had  its 
golden  age  under  the  early  Caesars.  Since  panto- 
mime is  the  true  universal  language,  Mr.  Churchill 
believes  that  it  should  be  revived  with  a  deliberate 
limitation  of  the  mechanical  aids  now  in  use. 

"The  primitive  mind  thinks  more  easily  in  pic- 
tures than  in  words.  The  films  which  are  shown 
amid  the  stillness  of  the  African  tropical  night  or 
under  the  skies  of  Asia  may  determine,  in  the  long 
run,  the  fate  of  empires  and  of  civilizations.  They 
will  promote,  or  detroy,  the  prestige  by  which  the 
white  man  maintains  his  precarious  supremacy 
amid  the  teeming  multitudes  of  black  and  brown 


Page  16 


The  Educational  Screen 


and  yellow."  When  we  think  of  Chaplin,  we  think 
especially  of  his  feet,  but  his  feet  are  a  "property". 
His  feet  and  walk  are  the  feet  and  walk  of  a  cab- 
man that  Chaplin  often  saw  in  the  Kensington 
Road,  in  London,  and  to  whom  they  were  not 
humorous.  "But  the  boy  saw  the  comic  possibili- 
ties of  that  uneasy  progress.  He  watched  the  old 
man  and  copied  his  movements  until  he  had  mas- 
tered every  step  in  the  dismal  repertoire  and  turned 
it  into  mirth. 

"The  same  power  of  observation,  the  same  patient 
thoroughness,  could  be  used — and  would  be  used — 
to  give  us  convincing  characterizations  of  serious 
roles.  Chaplin  has  desired  to  portray  the  role  of 
Napoleon  in  a  serious  characterization.  Churchill 
believes  that  his  future  may  lie  in  the  portrayal  of 
such  characters  in  non-talking  films,  and  in  the  de- 
velopment of  a  universal  cinema.  "To  explore  the 
possibilities  of  the  non-talking  film,,  to  make  of  it 
a  new  and  individual  art  form,  would  not  be  a  retro- 
grade step,  but  an  advance."  The  author  holds  that 
dialogue,  a  necessary  party  of  a  stage  play,  is  not 
inherent  in  a  picture  any  more  than  it  is  in  a  ballet. 
Of  all  the  many  brilliant  and  original  minds  asso- 
ciated with  the  cinema  today,  there  is  no  one  so 
well  equipped  for  this  experiment  as  Mr.  Chaplin. 
Possibly  no  one  else  would  venture  upon  it.  "I 
wish  him  good  luck — and  the  courage  of  his  own 
convictions  and  his  own  magnificent  powers." 

Intercine  (October,  '35)  "I  Talked  with  Charlie 
Chaplin",  by  A.  J.  Urban. 

During  an  interview  in  Chaplin's  bungalow,  the  fol- 
lowing ideas  were  voiced.  "Picture  and  talk  do  not  tol- 
erate each  other.  It  is  the  union  of  two  different  inco- 
herent forms."  He  intends  to  try  out  talking  pictures, 
but  not  in  his  tramp  character  for  this  character  be- 
longs to  all  countries.  Talking  would  localize  him. 
One  word  in  this  character  would  kill  Chaplin's 
twenty  years'  work.  In  the  comedian's  new  pic- 
ture, he  thought  of  having  the  other  characters  talk 
while  he  would  remain  silent,  but  that  would  look 
as  if  he  were  dumb,  so  sound  is  used  only  indirect- 
ly. "No  actors  in  sound  pictures  could  be  employed 
as  they  forgot  the  art  of  mimicry.  Cameramen  and 
assistant  directors,  likewise,  who  knew  the  silent 
art,  had  to  be  engaged.  When  people  talk,  action 
stops;  comedy  demands  action.  I  shall  always 
make  only  silent  comedies,  even  if  I  gave  up  the 
tramp  character  and  started  with  a  new  one."  If 
he  ever  makes  a  talking  picture;^  it  will  be  a  drama, 
never  a  comedy.  Cartoons  are  today  the  only 
American  art  in  films,  "because  in  it  and  only  in  it 
the  artist  is  absolutely  free  to  use  his  phantasy  and 
to  do  whatever  he  likes  to  do  with  the  picture." 

He  believes  that  colors  in  our  best  late  films  are 
too  heavy.  "There  is  a  big  difiference  between 
viewing  a  still  picture  and  seeing  masses  of  color 


in  motion."  The  re\ie\ver  suggests  that  here  Chap- 
lin is  suggesting  an  excellent  problem  for  research 
students. 

Sierra  Educational  News  (December,  '35)  "A 
Unique  Project  in  Map-Making,"  by  D.  P.  Lucas. 

Making  a  map,  in  which  each  state  is  represented 
by  its  most  typical  wood,  was  accomplished  after 
one  and  a  half  years  spent  in  making  inquiries  of 
all  the  states.  A  print  of  the  map  is  interesting  and 
instructive,  but  especially  will  be  appreciated  the 
list  of  woods  from  Alabama  to  Wyoming. 

Sight  and  Sound  (London,  Autumn,,  '35)  "Films 
in  a  Rural  School."  by  A.  S.  C.  Lambon,  M.  R.  S.  T. 
Excellent  adaptations  of  projection  under  unfavor- 
able conditions  are  here  shown  to  produce  good 
results.  A  cloak-room  is  converted  into  a  projec- 
tion room,  seating  50  pupils;  the  machine  is  always 
ready  and  no  time  is  lost  in  having  a  picture  lesson. 
After  trying  many  types  of  screens,  an  ordinary 
twill  sheet  has  proved  satisfactory  and  has  the  ad- 
vantage of  being  easily  rolled  up. 

"Making  the  Past  Live,"  by  Mary  Field,  M.  A. 
No  one  making  original  dramatizations  of  historical 
scenes,  either  on  the  stage  or  pictorially,  should  be 
ignorant  of  the  very  pertinent  points  brought  out 
in  this  article.  Since  a  picture  is  always  definite 
in  detail,  the  problem  is  considered  of  giving  a  gen- 
neral  idea  of  .multiplicity  of  detailed  conditions 
over  a  period  of  history.  "Inaccuracy  is,  I  think, 
forgivable  in  an  historical  film,  but  untruthfulness 
is  inexcusable.  Too  much  accuracy  will  kill  a  film, 
make  the  actors  wooden,  enchain  the  director,  limit 
the  scenario  writer.  The  aim  of  an  historical  film 
should  be  to  interpret  the  past  with  truth  and 
honesty,  and  then  it  doesn't  matter  if  the  hats  are 
five  years  out  of  date,  or  if  the  make-up  is  modelled 
on  a  portrait  of  ten  years  before  the  action." 

Grade  Teacher  (December,  '35)  "Symbol  Sto- 
ries," by  Mary  Combs  and  Agnes  Lehman. 

Pupils  combine  art  and  language  to  tell  a  geog- 
'raphy  story.  The  illustrated  stories  are  fully  re- 
produced. An  enigmatic  element  introduces  the 
spirit  of  a  game. 

Third  Dimension  Picture  Books 

Footprint  Series  :  Gknts  of  the  Animal  Kingdom, 
Strange  Animals,  Monkeys  and  Apes,  Wild  Oxen. 
Published  by  Orthovis  Printing  Company,  Chicago, 
with  the  cooperation  of  Field  Museum  of  Natural  His- 
tory. These  four  books  for  children,  designed  to  bring 
authentic  pictures  and  stories  about  animals  from  the 
natural  history  museum  into  the  homes  and  schools, 
are  new  additions  to  "The  Footprint  Series."  Four 
previous  titles  in  the  series^"The  Lion,"  "The  Bear," 
"The  Deer,"  and  "Wild  Sheep  and  Goats"  were  re- 

{Concliided  on  page  25) 


January,  1936 


Page  17 


Department  of  Visual  Instruction 


The  St.  Louis  Meetings 

THE  FEBRUARY  meeting  of  the  Department  of 
'  Visual  Instruction  will  be  held,  as  usual,  concur- 
rently with  the  annual  meetings  of  the  Department  of 
Superintendence  at  St.  Louis,  February  22  to  29,  1936 
— but  with  one  marked  departure  from  previous  practice. 
It  is  planned  to  condense  the  customary  three-day  pro- 
gram into  a  day  and  a  half.  This  is  done  to  bring  the 
Department  of  Visual  Instruction  into  accord  with  the 
recent  regulations  of  the  Department  of  Superintend- 
ence which  were  adopted  to  avoid  conflict  between  the 
main  sessions  and  the  group  sessions  and  to  ease  the 
difficulty  of  finding  separate  assembly  rooms  for  some 
thirty-six  subordinate  Departments  which  seek  to  hold 
their  sessions  during  the  same  days.  It  is  further  be- 
lieved that  a  closely-knit  program  of  a  day  and  a  half 
may  appeal  strongly  to  many  in  the  visual  field  whose 
free  time  is  rigidly  limited,  and  that  such  concentration 
may  result  in  still  larger  attendance  on  the  visual  in- 
struction program. 

The  program  is  still  in  process  of  formation  and 
therefore,  as  given  below,  should  be  considered  merely 
tentative.  Changes  and  additions  will  undoubtedly  be 
made  but  the  final  form  will  appear  in  the  February 
Educ.xtioxal  Screen  which  will  reach  its  readers  a 
week  or  ten  days  before  the  meetings. 

Program  of  the  Winter  Meeting  of    ~ 
The  Department  of  Visual  Instruction 
of  the  N.  E.  A. 
(Monday  and  Tuesday,  February  241-11  and  25th) 

Held  concurrently  with  the  meetings  of 
The  Department  of  Superintendence  at  St.  Louis, 
February  22-27,  1936 
MONDAY,  FEBRUARY  24th 
12  O'clock,  Noon.     Department  Luncheon  and  Regis- 
tration.   (Send  reservation    for  luncheon — $1.00 — 
to   Amelia    Meissner,   Chairman   of    Arrangement, 
Educational  Museum,  3325  Bell  Avenue,  St.  Louis.) 
Hotel   Melbourne,   Grand  and   Lindell   Boulevards 
(Bus  or  Taxi  to  St.  Louis  Educational  Museum) 
2  P.M.  to  4:30  P.M.    Afternoon  Session  at  St.  Louis 
Educational  Museum 

Session  will  be  devoted  to  several  demonstration  les- 
sons using  visual  aids,  with  classes  of  pupils  from 
lower  grades,  intermediate  grades,  and  High  School ; 
and  to  a  close-up  survey  of  the  actual  workings  of  the 
Educational  Museum  and  its  extensive  service  to  St. 
Louis  Schools,  under  the  direction  of  Miss  Amelia  B. 
Meissner. 

(Bus  or  Taxi  to  St.  Louis  Municipal  Auditorium) 
4:45  P.M.  to  5:45   P.M.     Lecture-Presentation    (in 
hall  of  Auditorium) 

by  Arthur  C.  Pillsbury  of  Berkeley,  California,  of  some 
of  his  remarkable  motion  pictures  on  biological,  horti- 
cultural and  floral  subjects.  Mr.  Pillsbury,  formerly 
with  the  National  Parks  Service,  famous  for  his  stop- 
motion  studies  of  plant  and  flower  growth,  now  carry- 
ing   on     his     researches     in    collaboration     with     the 


Conducted  by  E.  C.  WAGGONER,  Secretary-Treasurer 


University  of  California,  has  produced  pictures  that 
are  not  only  beautiful  and  amazing  but  of  great  scien- 
tific importance.  His  work  on  potato-growing  for  ex- 
ample, is  likely  to  prove  epoch-making.  (This  is  one 
of  the  films  to  be  shown). 

TUESDAY,  FEBRUARY  25th 

7:30  A.M.  to  8:45  A.M.     Informal  Breakfast  Hour 
at  Hotel  Melbourne  (Bus  or  Taxi  to  Auditorium) 

9:00  A.M.  to  11:30  A.M.     Morning  Session  in  hall 

in  Auditorium 

"Teaching  Safety  through  Visual  Methods" 

Address  by  Herbert  J.  Stack,  of  the  staflf  of  Teachers 
College,  Columbia  University,  and  associated  with  the 
National  Bureau  of  Casualty  and  Surety  Underwriters 
and  with  the  National  Safety  Council.  (Accompanied 
with  slides  and  talking  pictures). 
"Preparing  Teachers  in  the  Use  of  Visual-Sensory 

Aids" 

Address  by  William  A.  Yeager  of  the  School  of  Edu- 
cation, University  of  Pittsburgh.  Dr.  Yeager  has  long 
been  conducting  courses  which  prepare  teachers  to 
meet  the  requirements  of  the  State  of  Pennsylvania 
for  training  in  the  use  of  visual  aids  in  teaching. 
"The  Jones  Rotary  System  of  Instruction" 

Address  by  Arthur  O.  Baker  of  the  John  Marshall 
High  School,  Cleveland,  Ohio.  This  presentation  will 
be  accompanied  by  screen  projections  giving  in  full 
detail  the  working  of  this  outstanding  development  in 
the  field  of  visual  instruction. 
(Two  shorter  addresses  may  be  added  to  this  session) 

2:00  P.M.  to  4:30  P.M.     Afternoon  Session  in  hall 

of  Auditorium 

"Motion  Pictures  —  Not  for  Theatre" 

Address  by  Edwin  A.  Krows,  long  engaged  in  picture 
production,  both  theatrical  and  educational,  author  of 
well-known  books  on  the  picture  field,  and  recently 
Managing  Editor  of  The  New  Outlook,  New  York 
City.  This  address  will  summarize  the  author's  com- 
plete history  of  the  non-theatrical  motion  picture  field 
from  beginnings  to  date.  This  unique  work,  now  in 
manuscript  form  nearly  ready  for  publication,  will  be 
an  authoritative  record  of  the  first  decades  of  the 
visual  movement  that  would  otherwise  be  lost.  The 
book  is  planned  for  appearance  in  1936. 

"The  American  Film  Institute" 

Address  by  Edgar  Dale,  of  the  School  of  Education, 
Ohio  State  University,  whose  notable  contributions  in 
scholarship  and  research  to  the  visual  field  have  al- 
ready received  nation-wide  circulation.  Dr.  Dale  will 
give  an  authoritative  and  detailed  presentation  of 
plans,  aims,  present  activities  and  future  prospects  of 
an  undertaking  of  vital  interest  to  the  whole  field  of 
visual  instruction. 

A    Symposium    on    "Sound    and    Silent    Films    in 

Teaching" 

The  various  aspects,  characteristics  and  problems  of 
the  two  current  forms  of  motion  pictures  for  teaching 
will  be  treated  by  selected  speakers  and  by  free  dis- 
cussion from  the  floor.  Typed  questions  and  answers 
from  educators  throughout  the  country  will  be  pro- 
jected on  the  screen  inviting  further  discussion  by  the 
audience  and  two  reels  of  outstanding  educational 
sound  films  will  be  run. 

4:30  P.M.     A  very  brief  business  meeting  will  close 

the  sessions. 


Page  18 


The  Educational  Screen 


News  and  Notes 


Use  of  Sound  Films  Increasing 

The  number  of  educational  institutions  which  are 
instalHng  sound  equipment  is  increasing  rapidly. 

The  Boards  of  Education  in  the  cities  of  New 
Haven,  Conn.,  Tarrytown,  N.  Y.,  and  Allentown,  Pa., 
have  initiated  a  talking  picture  program  in  their  school 
systems  this  fall.  In  Newark.  N.  J.  Mr.  A.  G.  Balcom, 
Director  of  Visual  Instruction,  is  working  out  a  pro- 
gram for  the  use  of  sound  films  in  the  curriculum 
of  the  schools,  and  has  ordered  a  number  of  such 
subjects.  The  Port  Chester  Public  School  System, 
N.  Y.,  has  recently  purchased  additional  sound  film 
and  equipment. 

The  State  Teachers  College  at  Santa  Barbara,  Cal., 
and  Teachers  College  for  the  City  of  Boston  have 
started  a  library  of  Teacher  Training  films.  Among 
the  institutions  who  are  continually  adding  to  their 
sound  film  library  are  the  State  Teachers  Colleges  at 
Kutztown,  Pa.,  and  Plattsburg,  N.  Y.,  Columbia  Col- 
lege at  Dubuque,  la.,  Indiana  University,  and  the  State 
University  of  Iowa.  The  Extension  Divisions  of  the 
University  of  Wisconsin  and  the  University  of  Cali- 
fornia plan  to  distribute  educational  sound  films  to 
schools  throughout  their  states. 

Many  museums  are  also  including  educational  talking 
pictures  in  their  service  to  schools,  among  them  The 
Cleveland  Educational  Museum,  The  Franklin  Insti- 
tute in  Philadelphia,  The  St.  Paul  Institute,  The  Chil- 
dren's Museum  in  Boston,  The  Bufifalo  Museum,  and 
the  Museum  of  Science  and  Industry  in  New  York 
City. 

Resolutions  Passed  by  the  Visual  Instruction 
Section  of  the  Ohio  Education  Association 

"Resolved  that  the  Visual  Instruction  Section  of  the 
Ohio  Education  Association  make  a  practical  efi^ort 
to  see  that  producers  of  such  pictures  as  are  based  on 
the  works  of  Shakespeare  and  similar  literature,  com- 
monly read  in  school,  are  encouraged  by  remunerative 
box-office  receipts.  Such  pictures  can  only  be  pro- 
duced if  they  are  given  adequate  financial  returns.  In- 
asmuch as  these  pictures  provide  the  means  by  which 
these  classics  may  be  dramatized  and  visualized  it  is 
the  belief  of  this  group  that  theater  managers  should 
be  requested  to  secure  them,  and  when  so  secured  that 
the  children  should  be  offered  ample  opjiortunity  to 
view  them. 

"Be  it  further  resolved  that  the  chairman  of  the 
Visual  Education  Section  be  authorized  to  appoint  two 
standing  committees,  one  to  study  and  report  in  "Ohio 
Schools",  the  causes  of  damage  to  motion  picture  film. 
and  one  to  study  the  relative  merits  of  expressing  one 
sensory  experience  by  means  of  another  sense  com- 
municatory-form." 


Conducted  by  JOSEPHINE  HOFFMAN 


Slides  on  School  Activities 

Six  sets  of  colored  stereopticon  slides  depicting  ac- 
tivities in  the  nursery  school,  kindergarten,  primary, 
and  upper  elementary  grades  may  be  borrowed  upon 
application  to  the  United  States  Office  of  Education. 
There  are  between  54  and  65  slides  in  the  sets  and  are 
grouped  under  the  following  titles :  A  Day  in  a  Nurs- 
ery School,  Kindergarten  Activities,  Primary  Grade 
Activities,  Coordinated  Nursery  School,  Kindergarten 
and  Primary  Activities,  and  Elementary  School  Ex- 
periences. 

A  set  of  12  slides  showing  the  graphic  representa- 
tion of  enrollments,  attendance,  length  of  session,  etc., 
for  kindergarten-primary  grades  as  described  in  Office 
of  Education  Bulletin  1930,  No.  30  "Kindergarten- 
Primary  Education,  A  Statistical  and  Graphic  Study," 
is  also  available  upon  request. 

Cleveland  Library  Bookmarks 

Motion  Picture  Bookmarks,  a  service  provided  by 
the  Cleveland  Public  Library  to  Cleveland  citizens  for 
the  last  12  years,  will  now  be  made  available  to  citizens 
throughout  the  United  States  by  the  Office  of  Educa- 
tion on  its  weekly  radio  ])rogram  of  Education  in  the 
News. 

Motion-picture  bookmarks  are  short  lists  of  books 
which  promise  interesting  reading  in  connection  with 
current  films  based  on  famous  novels,  biographies,  or 
historical  episodes. 

The  first  bookmark  broadcast  dealt  with  Booth  Tark- 
ington's  Alice  Adams;  the  second  with  A  Midsummer 
Night's  Dream,  and  each  week  the  outstanding  current 
film  is  chosen  for  similar  recognition. 

A  further  service  to  librarians  recently  instituted  by 
the  Cleveland  Public  Library  is  the  monthly  publication 
of  Books  and  Films,  edited  by  Mrs.  Ina  Roberts,  ]iub- 
licity  director.  The  purpose  of  this  monthly  material 
is  to  furnish  suggestions  on  promoting  interest  in 
books  through  current  films. 

Photography  Aids  in  Safety  Work 

The  following  letter  written  to  Camera  Craft 
speaks  for  itself: 

"The  writer  is  a  member  of  the  California  High- 
way Patrol  who  has  for  the  last  three  years  been 
specially  detailed  to  Safet}-  work  in  the  school  of 
his  county.  I  conceived  the  idea  that  motion  pic- 
tures would  hold  the  interest  of  the  children  far 
more  than  speeches  and  that  instead  of  boring  them 
by  repetition,  pictures  showing  the  right  and 
wrong  actions  in  traffic  as  well  as  bad  accidents, 


January,  1936 


Page  19 


Educational  Talking  Pictures 

AT  A  PROFIT 


New  RCA  Plan 
gives  you  both  film 
service  and  perfected 

projector  on 
self-supporting   basis 

Just  a  month  ago  the  first  announce- 
ment was  made  of  the  new  plan  by 
which  RCA  makes  it  possible  for 
you  toget  talking  picture  equipment 
and  films  for  your  school  without 
drawing  on  school  board  funds. 

Already  educators  in  all  parts  of 
the  country  have  shown  great  in- 
terest. The  first  shows  sponsored  by 
this  Plan  have  begun. 

What  the  Plan  offers 

Here  is  what  you  get:  the  famous 
RCA  I6mm.  Sound  Motion  Picture 
Projector,  a  remarkable  device  that 
is  as  simple  to  operate  as  a  radio,  yet 
gives  exceptional  brilliance,  clarity 
and  steadiness  of  the  picture,  plus 
great  naturalness  of  sound. 

AND,  in  addition,  a  fine  program 
service,  supplied  by  Walter  O. 
Gutlohn,  Inc.,  35  West  45th  St., 
New  York  City,  famous  for  creating 
attractive  programs.  You  are  sup- 
plied with  ten  programs,  one  for 
each  scholastic  month. 


RCA  16nim.  Sound  Motion  Picture  ProiLctor.  a  sirnpiiliLcl  version  of  the  famous  R(-A  Photophone 
Projector  used  in  leading  theatres.   As  sitnplc  to  operate  as  a  radio. 


How  it  is  financed 

There  is  a  down  payment  of  $50, 
which  can  be  raised  locally.  And 
there  are  ten  monthly  payments  of 
$60  each,  covering  ten  scholastic 
months.  These  can  be  more  than 
covered  by  charging  a  small  admis- 
sion to  each  show.  Payments  cover 
use  of  program  for  one  day,  regard- 
less of  number  of  showings.  Addi- 
tional days,  $15  each  per  program. 

The  films 

Pictures  are  the  best  available, 
appealing  to  teachers  as  well  as 
students.  There  are  educational 
subjects;  classics  such  as  Jane  Eyre 
and  The  Last  of  the  Mohicans; 
sports;  news;  cartoons. 


Equipment  becomes  yours 

At  the  end  of  a  calendar  year  you 
own  outright  the  RCA  Projector, 
and  have  had  the  ten  monthly  pro- 
grams necessary  to  give  a  show 
during  each  of  the  school  months. 
Admissions  have  paid  for  it  all,  and 
have  left  a  margin  for  school  uses. 
In  subsequent  years  film  rental  be- 
comes the  only  expense. 

For  full  information 

There  is  a  coupon  below.  Clip  it, 
get  complete  story  about  this  wonder- 
ful plan  that  makes  sound  motion 
pictures  and  equipment  so  easy  for 
any  school  to  obtain.  Clip  the  cou- 
pon—don't go  another  month  with- 
out talking  pictures  in  vour  schooL 


MAIL    THE    COUPON    NOW! 
1 


RCA  SELF-FINANCING 
INSTITUTIONAL  MOTION  PICTURE  PLAN 

RCA  Manufacturing  Co.,  Inc.,  Camden,  N.  J.,   a  subsidiary  of  the 

RADIO  CORPORATION  OF  AMERICA 


Visual  Sound  Section 

RCA  Mfg.  Co.,  Inc.,  Camden,  N.  J.,  Dept.  ES  ' 

Please  send  me  full  details  of  the  RCA  Self-  I 

Financing  Motion  Picture  Plan.  I 

I 


Name- 


School - 
St^eet_ 
City 


-State- 


Page  20 


The  Educational  Screen 


would  be  the  greatest  possible  medium  of  instruc- 
tion. Therefore  I  purchased  a  16  mm.  motion  pic- 
ture camera,  a  projector,  a  large  beaded  glass  screen 
capable  of  showing  brilliantly  enough  for  a  large 
auditorium  and  other  necessary  equipment. 

"I  then  arranged  with  the  schools  for  honor  chil- 
dren in  Safety  to  be  appointed  to  act  out  parts  on 
the  highways  and  let  the  children  act  out  parts  in 
realistic  accidents  showing  the  right  and  wrong 
actions.  These  shots  were  made  so  realistic  that 
even  the  teachers  were  fooled.  Needless  to  say  the 
children  in  the  100  odd  schools  of  the  county  can 
hardly  wait  for  the  next  visit  of  the  officer  with  the 
pictures,  and  are  so  well  versed  in  the  laws  and  rules 
that  the  county  won  first  place  among  the  58  other 
counties  of  the  state  for  its  Safety  work  as  judged 
by  the  Parent-Teachers'  Association. 

New  Study  Guides  Prepared 

The  release  of  a  number  of  new  films  of  outstand- 
ing literary  merit  has  led  the  Motion  Picture  Commit- 
tee of  the  Department  of  Secondary  Education  of  the 
National  Education  Association,  to  recommend  the 
preparation  of  additional  photoplay  guides  of  the  type 
that  has  become  increasingly  popular  with  high  school 
teachers  and  students  in  recent  months. 

On  the  basis  of  the  Department's  recommendations. 
Educational  and  Recreational  Guides,  Inc.,  of  Newark, 
New  Jersey,  have  just  released  study  guides  on  the 
three  new  pictures,  Mutiny  on  the  Bounty,  A  Tale  of 
Two  Cities  and  Scrooge.  Similar  guides  have  been 
published  for  the  following  films:  The  Last  Days  of 
Pompeii,  The  Three  Musketeers,  Les  Miserables,  A 
Midsummer  Night's  Dream,  Fang  and  Claw,  and 
Seven  Keys  to  Baldpate. 

Evaluation  of  Films  for  Use  in  Biology 

(^Concluded  from  page  9) 

tions  occurring  at  the  beginning  of  the  table  were 
well  answered  in  the  film  by  clear  and  distinct  pic- 
tures accompanied  by  suitable  sub-titles.  Question 
5,  however,,  was  the  type  of  question  not  well  an- 
swered by  the  pictures  of  the  film  and  had  no  sub- 
title as  an  explanation.  Hence  the  answers  to  this 
varied  from  "three  hours"  to  "three  weeks." 

From  the  above  discussion  it  may  be  concluded 
that  useful  information  may  be  obtained  by  high 
school  pupils  from  one  presentation  of  a  film  if  the 
pictures  are  clear  and  distinct  and  the  accompany- 
ing sub-titles  are  simple  and  direct,  that  misconcep- 
tions are  likely  to  arise  in  the  minds  of  the  pupils 
if  the  photography  is  poor  or  if  the  sub-titles  are 
involved  and  technical,  that  time  relationships  can- 
not be  clearly  shown  in  the  film  unless  the  action 
is  accompanied  by  a  suitable  explanation. 


The  Natlon-Wlde  Postal-Card  Questionnaire 

— prepared  by  the  Department  of  Visual  Instruc- 
tion of  the  N.  E.  A.  during  the  past  fall  for 
continuous  mailings  during  1936 — has  begun  go- 
ing into  the  mails  with  the  new  year.  Report  on 
first  returns  will  be  made  in  the  February  issue 
of  The  Educ.mioxal  Screen'. 


New  Jersey  Visual  Education  Activities 

By  A.  G.  BALCOM 

Assistant  Superintendent  of  Schools, 
Newark,  New  Jersey 

The  New  Jersey  Visual  Education  Association 
has  had  a  busy  season.  The  Fall  Meeting  of  the 
Association  was  held  in  the  high  school,  at  Vine- 
land,  October  8th.  The  program  had  been  ar- 
ranged by  Lawrence  R.  Winchell,  superintendent 
of  schools,  in  Vineland.  It  consisted  of  an  after- 
noon session^  a  luncheon  period,  and  an  evening 
session.  The  meeting  was  held  in  the  southern  part 
of  the  state,  so  that  it  would  be  of  special  interest 
to  teachers  in  that  vicinity.  Teachers  and  pupils 
assisted  in  this  program  of  proving  the  value  of 
visual  aids.  In  the  evening,  the  commercial  repre- 
sentatives demonstrated  maps,  projectors  and  other 
material  available  to  teachers.  The  program  con- 
cluded with  an  auditorium  presentation  of  16mm. 
sound  films. 

The  Association,  which  met  in  Atlantic  City  on 
November  9th,  at  the  same  time  as  the  New  Jersey 
State  Teachers'  Association,  had  its  own  program, 
which  is  reproduced  here.  It  boasted  the  largest 
attendance  of  its  history.  All  the  addresses  were 
effectively  illustrated. 

Morning  Session 

Singing — With  the  Use  of  Song  Slides. 

"Administering  Visual  Aids  in  a  School" — William  B.  Har- 
grove,  Principal,   Charlton   St.   School,   Newark. 

"The  Local  History  of  New  Jersey" — John  Garth  Coleman, 
Principal,  Jos.  F.  Brandt  Jr.  High  School,  Hoboken. 

"Visual  Aids  for  Classroom  and  Shop" — George  F.  Bowne, 
Instructor  in  the  Manual  Arts,  Weequahic  H.  S.,  Newark. 

"Creative  Education  in  a  Rural  School"  (Illustrated  by  Pupils' 
Work) — Rose  D.  Gerlach,  Principal,  Joyce  Kilmer  School, 
Lodi. 

Afternoon  Session 

"Educational  Value  of  Puppets"  (Illustrated  by  a  Marionette 
Play  of  the  Summit  Schools) — Alice  Mihleis,  State  Di- 
rector, New  Jersey  Marionette  Guild. 

"Teacher  Training  in  the  Use  of  Visual  Aids" — Lawrence  R. 
Winchell,  Supt.  of  Schools,  Vineland. 

"Selection  of  Pictures  for  Schools" — Illustrated  by  Reproduc- 
tions from  the  Galleries  of  Raymond  and  Raymond,  N. 
Y.  C. — Sherman  Smith. 

"Recording  a  Circus  Activity"  (New  Color  Process — Eastman 
Kodachrome) — Jean  Fames,  Instructor,  Subnormal  Chil- 
dren, Burnet  Street  School,  Newark. 

The  first  bulletin  of  the  Association  was  dis- 
tributed to  teachers  at  the  meeting. 


January,  1936 


Page  21 


'ilii  ^nooMcfZ 


Above,  Model  B  Balopticon  for 
lantern  slide  projection. 
Below,  Model  BUT,  the  same 
as  model   B  but  with   a  con- 
venient tilting  base. 


BEGINS    WITH   PICTURES 

Give  a  child  a  picture  that  he  can  study  at  length;  tell  him  what  it  is  and 
what  it  means.  He  will  readily  understand  and  it  will  provide  an  excellent 
stimulus  to  his  imagination  and  reasoning. 

That  is  the  fundamental  basis  of  teaching  with  a  Balopticon — the  instrument 
of  still  picture  projection.  Still  pictures,  projected  onto  a  screen,  give  the 
entire  class  time  to  absorb  the  point  being  taught  because  it  is  vividly  and 
permanently  impressed  on  the  students'  minds. 

There  are  several  models  of  B  &  L  Balopticons  which  project  either  lantern 
slide  or  opaque  object  illustrations  or  both.  The  complete  Balopticon  Cata- 
log E-11  describes  all  of  them.  Write  for  your  copy.  Bausch  &  Lomb  Optical 
Co.,  688  St.  Paul  Street,  Rochester,  N.  Y. 

Bausch  &  Lomb 


WE  MAKE  OUR  OWN  GLASS  TO 
INSURE   STANDARDIZED    PRODUCTION 


FOR  YOUR  GLASSES,  INSIST  ON  B  A  L 
OR7HOGON    LENSES    AND   B  &  L    FRAMES 


Page  22 


The  Educational  Screen 


School  Department 


Conducted  by  DR.  F.  DEAN  McCLUSKY 

Director,  Scarborough  School,  Scarborough-on-Hudfon,  N.  Y. 


Assembly   Prosrams    With    Pupil-Made   Slides 


yy/ITHOUT  doubt  two  of  the  best  and  most  in- 
^^  teresting  assembly  programs  that  we  have  had 
during  the  last  year  have  been  those   for  which  the 
pupils  made  their  own  slides. 

Our  program  on  the  life  and  inventions  of  Thomas 
A.  Edison  probably  appealed  to  the  children  more  than 
did  the  one  we  presented  on  mathematics.  However, 
for  both  programs  the  making  of  the  slides  served  as 
a  valuable  means  of  motivating  the  research  work  as 
well  as  for  self-expression.  They  also  appealed  so 
much  to  the  children's  interest  that  the  problem  of 
discipline  faded  completely  away.  Then,  too,  their 
drawings — though  rather  crude  at  times — were  h 
tremendous  help  in  conveying  the  ideas  realistically 
and  the  children  learned  the  importance  of  Ruskin's 
words :  "Learn  to  draw  —  that  you  may  set  down 
clearly  and  usefully  records  of  such  things  as  cannot 
be  described  in  words.  —  either  to  assist  your  own 
memory  or  to  convey  distinct  ideas  of  them  to  other 
people." 


It  i$&i%ere 

the  HCJ^Mp  \6mm 

^^^  ALL 
SPROCKET 
PROJECTOR 


nmmH: 


©♦■■  h^  ■ 


\ 


SILENT 

or 

SOUND 

on 

FILM 


All 
Shaft 
Driven 

Straight 

Sound 

Aperture 

Direct 
Beam  of 
Lisht  on 

Sound 
Track  and 
Photo  Cell 

Hold  Pack 
Sprocket 

Filtered 
Sound 

Sprockat 


Ask  any  professional  operator 
why  thes2  HOLMES  16  mm 
features  are  so  necessary  to  the 
finest  sound  reproduction  and 
picture   projection. 


HOLMES 

1813  N.  ORCHARD 


Write  for  full  descriptive 
literature. 


PROJECTOR 

STREET 


No  Bolts 
No  Chains 

No 

Sound 
Drum 

No 

Reflected 

Light  From 

Sound 

Track  to 

Photo  Cell 

No  Claw 
Movement 

No  High 
Speed 
Shafts 


COMPANY 

CHICAGO,  ILLINOIS 


The  making  of  the  slides  also,  due  to  the  intense 
interest  aroused,  created  a  greater  desire  to  know  more 
about  the  subject  involved.  More  class  responses  took 
place  and  more  research  work  was  done.  The  pupils 
gained  in  the  ability  to  organize  and  eliminate  infor- 
mation ;  they  also  gained  a  greater  appreciation  of  the 
work  of  scientists,  mathematicians,  and  authors.  Cor- 
relation resulted  in  the  motivation  of  drawing.  Eng- 
lish work,  mathematics,  science,  and  ])urposeful 
reading. 

For  our  Thomas  A.  Edison  program,  the  objec- 
tive was  to  study  the  life  of  the  great  inventor  and 
to  learn  about  his  inventions  so  as  to  report  the  find- 
ings to  others  in  such  a  way  that  they  would  develop 
an  appreciation  of  him  as  a  man  and  of  his  contribu- 
tion to  civilization. 

The  time  devoted  to  this  project — including  the  cor- 
relation with  the  home-room  guidance  work  —  was 
about  one  month.  During  that  time  the  pupils  not  only 
gathered  together  instructive  and  inspiring  facts  con- 
cerning the  life,  character,  and  working  habits  of  the 
most  outstanding  scientist  of  the  world's  history,  but 
they  also  gained  excellent  training  in  the  selection  of 
those  facts  which  would  prove  most  interesting  to  a 
group  of  listeners.  Through  this  study  a  greater  ap- 
preciation for  the  patience,  the  hard  work,  and  the 
industry  of  this  man  was  gained. 

After  assembling  all  of  our  data  on  Mr.  Edison,  we 
then  started  in  on  the  problem  of  gathering  together 
reliable  pictures  and  drawings  which  illustrated  his 
various  inventions  both  in  the  process  of  making  and 
after  being  completed.  All  sorts  of  references  in  the 
various  science  books  of  the  school,  public  library,  and 
Children's  Museum  were  consulted.  In  some  instances, 
the  pictures  were  traced  directly  on  to  the  glass.  In 
other  cases,  the  drawings  were  made  by  the  children 
on  paper  and  then  traced  on  the  glass. 

Naturally  not  all  of  the  children  were  able  to  draw 
well  —  but  others  who  were  able  were  happy  to  assist 
in  the  making  of  the  slides  or  in  some  cases  actually 
to  make  the  slides  for  their  classmates  who  were  to  give 
the  oral  reports  in  the  assembly  period.  In  this  way 
were  established  correct  mental  attitudes  of  coopera- 
tion and  helpfulness. 

The  following  topics  seemed  best  for  us  to  illus- 
trate : 

1.  Interesting  scenes  from  the  early  years  of  Thomas 
Edison 


January,  19} 6 


Page  23 


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include  such  famous  films  as: 

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with  George  Arliss 

"CHU    CHIN    CHOW" 

"PRINCESS   CHARMING" 

The     Famous     Gaumont- 
British    Production    with 
Evelyn  Laye  in  a  delightful 
musical  romance. 

"FRIDAY  THE   I3TH" 

An    unusual     plot    in    the 
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"THE  CAMELS  ARE  COMING" 
Jack  Hulbert  in  a  hilarious 
comedy   of   life   among   the 
Pyramids. 

"MARLBOROUGH" 

One  of  the   great  costume 
classics  enlivened  by  Cicely 
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"EVERGREEN" 

Jessie  Mathews  in  the  role 
of  the  opera  star  that  never 
grew  old. 

All  of  the  above  films  are  suit- 
able for  showing  to  children. 

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Page  24 


The  Educational  Screen 


The  Keystone  Lantern 


Is  A  Daylight  Lantern 


No  So-called  Daylight  Screen  Is 
Necessary — No  Complete  Dark- 
ening of  the  Room. 

Only  a  Lamp  That  Isn't  Burned 
Dim  —  the  Shades  Half  Drawn 
—  and  Keystone  Slides  Made 
from  Keystone  Third -Dimension 
Negatives. 

Descriptive    Literature   Sent   on    Request. 


Keystone  View  Company 


MEADVILLE.  PENNA. 


2.  His  youthful  adventures 

3.  His  life  as  a  telegraph  operator 

4.  The  invention  of  the  phonograph 

5.  The  invention  of  the  incandescent  lamp 

6.  His  experiments  with  the  electric  railway 

7.  The  invention  of  the  apparatus  for  picture  taking 
and  the  exhibiting  of  motion  pictures. 

Throughout  the  entire  program,  the  five  traits  of 
Edison  which  young  people  should  endeavor  to  emulate 
were  stressed. 

As  a  fitting  closing  for  this  Edison  program,  one  of 
the  pupils  quoted  from  the  great  inventor's  last  public 
utterance  over  the  radio  on  June  19,  1931.  Edison 
said :  "My  message  to  you  is :  Be  courageous.  I  have 
lived  a  long  time.  I  have  seen  history  repeat  itself 
again  and  again.  I  have  seen  many  depressions.  Al- 
ways America  has  emerged  from  these  stronger  and 
more  prosperous.  Be  as  brave  as  your  fathers  were 
before  you.    Have  faith!    Go  forward." 

For  our  assembly  program  on  mathematics  the  fol- 
lowing topics  seemed  to  lend  themselves  especially  well 
to  slide  making: — 

1.  Egyptian  numbers 

2.  Babylonian  numbers 

3.  The  dawn  of  geometry 

4.  Early  shelters — based  on  geometric   forms 

5.  Geometric  designs  found  in  basketry  and  pottery 

6.  Geometry  in  nature 

7.  Symmetry  in  everyday  life 

8.  Various    types    of    graphs    and    the    presentation 
of  their  use  in  number  relation 

The  same  methods  of  research,  study,  and  elimina- 
tion were  followed  as  in  the  preceding  report.  How- 
ever, in  the  making  of  mathematical  slides  we  seemed 
to  have  a  far  simpler  problem  —  either  because  we 
had  gained  much  knowledge  through  our  first  project 
or  because  the  material  was  more  closely  associated 
with  our  lives. 

I  truly  believe  that  the  making  of  slides  —  whether 
it  be  for  an  assembly  program  or  for  a  regular  class 
room  procedure  —  is  immensely  stimulating  and  valu- 
able. The  materials  required  are  so  inexpensive  and 
easy  to  obtain,  yet  they  oflfer  many  opportunities  for 
self  expression. 

The  resourceful  instructo'r  will  find  many  other  ex- 
cellent topics  which  adapt  themselves  well  for  assembly 
programs  and  the  children  will  experience  the  real  joy 
that  comes  to  one  with  work  well  done. 

By  VIVIAN  SOWERS  RANKIN 

Public  Schools,   Indianapolis,   Ind. 


QUR  READERS  can  assist  materially  the  suc- 
cess of  the  Postal  Card  Questionnaire  being 
circulated  nationally  to  schools  by  the  Department 
of  Visual  Instruction.  A  judicious  word  to  any 
School  Principal  in  their  locality  may  keep  his 
Card  from  joining  the  limbo  of  the  lost. 


January,  1936 

Project     Pictures    from    the 

With    the    Quickly    Set'Up,    Adjustable 

DA-LITE   PROJECTOR   STAND! 

The  projector  should  be  placed  higher  than  the  heads  of  the  students 
.  .  .  not  down  on  a  desk  or  table,  (where  those  seated  in  direct  line 
with  the  screen  can  interfere  with  the  showing  of  the  picture.) 

With  the  Da-Lite  Projector  Stand  you  can  always  project  pictures 
from  the  right  height;  and  you  can  place  the  students  in  the  best 
position  for  seeing  the  picture  .  .  .  that  is  in  direct  line  with  the 
screen.  The  Da-Lite  Projector  Stand  is  easily  and  quickly  set  up. 
It  has  a  tilting  platform  with  worm  gear  control  for  silent  projectors, 
or  can  be  furnished  with  a  non-tilting  base  for  sound  and  slide 
projectors.     Both  are  inter-changeable. 

For  complete  freedom  from  delays,  visual  education  classes  need  the 
Da-Lite  Challenger  Screen  as  well  as  the  projector  stand.  The 
Challenger  has  a  tripod  attached  to  the  case  and  can  be  set  up  any- 
where. Ask  your  dealer  about  these  Da-Lite  accessories  or  write 
us  for  full  details! 

DA-LITE    SCREEN    CO.,    INC. 

2723  No.  Crawford  Ave.  Chicago,  III. 


Da-Lite  Screens 


AND    MOVIE 
ACCESSORIES 


Among  the  Magazines  and  Books 

(Concluded  from  page  15) 

viewed  in  the  May  1935  issue  of  The  Educational 
Screen. 

These  small  books  are  illustrated  with  "three-dimen- 
sional" pictures  of  habitat  groups  of  mammals  ex- 
hibited in  Field  Museum.  The  pictures  are  printed  by 
the  "Orthovis"  process  which  makes  the  illustrations 
stand  out  from  the  page  and  appear  to  be  in  three 
dimensions  like  the  groups  they  depict,  when  they  are 
viewed  through  the  "ortho-scope,"  an  optical  device 
which  accompanies  each  copy.  The  page  borders  con- 
tain sketches  of  the  footprints  of  various  animals,  and 
silhouette  drawings  showing  them  in  characteristic  ac- 
tions. The  text  of  the  books  is  by  H.  B.  Harte  of  the 
Field  Museum  staff,  and  has  been  prepared  in  a  style 
suitable  for  children  from  about  eight  to  fourteen 
years  of  age. 

The  publishers  report  that  these  books  are  being 
widely  taken  up  as  supplementary  reading  in  schools, 
and  in  a  number  of  states  have  been  placed  on  the 
official  lists  of  such  material  recommended  to  prin- 
cipals and  teachers.  In  order  to  assist  teachers  in 
making  the  best  use  of  them,  two  manuals  for  teachers, 
illustrating  various  ways  in  which  the  books  can  be 
adapted  to  schoolroom  use,  have  been  issued. 


For  Auditorium  Use: — 
For  Classroom    Use: — 

The  high  powered  750  waft  pro- 
jection lamp  and  special  Bausch 
&  Lomb  projection  lenses  assure 
clear  and  brilliant  pictures  for 
audiences  up  to  2000.  Sound  is 
of  perfect  tonal  quality  and  un- 
dlstorted  for  audiences  of  this 
size.  Simple  to  thread  and  oper- 
ate, extremely  quiet  running 
and  low  in  maintenance  expense. 
The  Ideal  projector  for  teachers' 
class  room  use.  Completely 
portable. 

Syncrofilm  Sixteen  now  available  on  a  cooperative  buying  plan 
which  enables  you  to  own  outright  the  projector.  A  complete 
schedule  of  films  Is  also  available.  The  SYNCROFILM  SIXTEEN 
sound  projector  Is  self-liquidating  when  purchased  on  our  co- 
operative film  and  projector  plan.  Many  Institutions  today  are 
using  SYNCROFILM  SIXTEEN  projectors  as  money  raising 
projects — you  too  can  now  take  advantage  of  this  opportunity. 
Write  for  complete  details  of  our  new  cooperative  plan. 

^Veber  Machine  Corp. 

Manufacturers  of  35  mm.  and  16  mm.  Sound  Projectors 

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Page  26 

The   Combination   of   Art   and   Visual    Instruction 


The  Educational  Screen 


THE  COMBINATION  of  art  and  Visual  Instruc- 
'  tion  offers  unlimited  possibilities.  Certainly  the 
visual-minded  are  more  artistic  and  appreciative.  That 
they  be  creative  is  not  necessary,  because  art  for  the 
average  person  will  consist  in  the  appreciation  of  the 
beautiful,  and  in  the  selection  of  commodities,  furni- 
ture, draperies,  rugs,  china,  glassware,  and  dress.  We 
may  add  to  appreciation  and  selection  gardening,  sew- 
ing and  kindred  crafts.  The  fact  that  the  creative  ar- 
tistic people  are  visual-minded  seems  not  to  be 
disputed. 

The  combination  of  the  two  departments  x\rt  and 
Visual  Instruction  under  one  Director  in  school  ac- 
tivities is  desirable.  The  art  classes  in  our  Bakersfield 
City  Schools  have  efficiently  made  the  following  con- 
tributions to  the  Visual  Instruction  department : 

1.  Mounted  several  thousand  pictures  taken  largely 
from  the  National  Geographic. 


TALKING    PICTURES    FOR    CLASSROOMS 

Series  "A"  for  High  Schools  Series  "B"  for  Grade  Schools 

FREE  CIRCULAR  ON  REQUEST 

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Pictures,  both  Silent  and  Sound ;  Glass  Slides,  Film  Strips,  Pro- 
jectors,   Stereopticons,    Screens,    Accessories.      Ask    for    supplement. 

IDEAL     PICTURES     CORPORATION 

30  EAST  EIGHTH  STREET  CHICAGO,  ILL. 


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CELLOSLIDE — Eliminates  the  necessity  of  writing  on 
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from  your  projector  in  Black-and- 
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variety  of  styles  includes  Folding  De  Luxe  "A"  as  illustrated, 
back  board,  metal  tube,  and  easel  models  ...  in  siies  for 
every  requirement  from  small  exceedinqly  portable  types  to 
models   adequate   for   auditorium   and    lecture   hall    purposes. 

Send  for  complete  literature  on  Screens,  Reflec- 
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BRITELITE-TRUVISION 


2.  Bound  booklets.  IMuch  of  this  material  is  from 
the  Geographic,  also. 

3.  Dressed  a  set  of  dolls  in  the  costumes  of  different 
countries. 

4.  Constructed  a  portfolio  of  block  prints  of  Cali- 
fornia wild-flowers. 

5.  Drawn  and  mounted  map  slides. 

6.  Mounted  dainaged  stillfilms  between  glass  making- 
slides  and  thus  saving  the  material. 

7.  Drawn  slide  pictures  illustrating  various  countries. 

8.  Constructed  large  books  in  activity  and  social 
science  classes,  which  have  later  been  placed  in  the 
Visual  Instruction  department.    Examples  are: 

America  Historical  alphabet  Safety 

Asia  Product  of  North  Birds 

Africa  America  Indians 

Mail  Health  Kern  County 

9.  Constructed  large  projects  in  activity  program.  At 
the  close  of  the  semester  these  were  removed  from 
the  building  to  a  room  in  a  vacant  school  building 
which  we  have  converted  into  a  museum.  Classes 
and  teachers  visit  this  museum  and  obtain  ideas. 

10.  I  have  collected  many  samples  of  children's  work 
and  placed  them  in  portfolios  under  the  following 
titles : 

Figure  drawing  Crayola  lessons     All  over  designs 
Christmas  Flower  drawings  Free  hand 

cards  drawing 

Spatter  Block  prints  Printing 

Pencil  Posters  Water  color 

Pen  and  ink       Borders 

The  following  list  contains  the  material  which  the 
Visual  Instruction  department  provides  to  assist  with 
art  work : 

1.  Set  of  glass  slides  of  famous  pictures. 

2.  Mounted  pictures  with  the   following  titles : 

Animals  Children,  Art    maps 

Babies  Attractive  Trees 

California  Wild  Design  for  Cartoons 

Flowers  Upper  Grades 

Children  by  Japanese   Prints    Costumes 

Masters 

Miniatures  by  Pictures  by  Color    Studies 

Masters  Whistler 

Craft,   Upper  Craft,  Lower        Ships 

Grades  Grades 

Interiors  Landscapes  Portraits 

3.  Portfolios  with  the  following  titles : 
Carving  Story  Illustration    Perspective 
Indian  Material  American  Printing 

samplers 


January,  1936 


Page  27 


A   NEW  SERIES   OF   UNUSUAL   LANTERN   SLIDES   ON    LITERATURE  — 
BOTH   JUVENILE  AND    HIGH   SCHOOL 

Schools  ttiat  are  accumulating  their  own  visual  education  material  will  be  interested  in  this  series  of  lantern  slide  sets.  They  are 
designed  to  Illustrate  the  books  and  stories  whose  titles  they  bear.  All  of  the  slides  are  most  beautifully  and  accurately  colored;  ihey 
constitute  a  real  contribution  to  better  teaching  In  the  various  grades  or  levels  for  which  they  are  designed. 

The  slides  are  available  for  outright  purchase,  or  can   be  rented  for  five  cents  per  slide  per  week. 

YOU  WILL  WANT  TO  USE  THEM 


JUVENILE  LITERATURE  AND  STORY  TELLING: 


Slides 

The   Circus 25 

Alice  In  Wonderland 42 

Rip    Van    Winkle 12 

The  Pied   Piper  of  Hamelin 25 

The   Blue  Bird   (Maeterlinck) ..  .16 

Uncle   Tom's   Cabin 12 

Robinson  Crusoe 18 

Chicken   Little 29 

The   Three   Bears 24 

MORE  ADVANCED  LITERATURE 

Joan    of    Arc 50 

The  Legend  of  Sleepy  Hollow..  14 

The   Cricket  on  the   Hearth 28 

The   Merchant  of  Venice 15 

Midsummer    Night's    Dream.... 25 


Slides 
The  Cock,  The  Mouse  and  the 

Little  Red  Hen 25 

Little    Red    Riding    Hood 25 

Three  Little  Pigs 8 

Precocious    Piggy 13 

Flower   Children 25 

Wild  Flower  Children 25 

Bird    Children 25 

Little   Orphant   Annie 10 

Little   Lame   Prince 31 

The  Merry  Wives  of  Windsor.. 40 
The  Courtship  of  Miles  Standish.42 

Hiawatha 24 

The    Princess 20 

The    Lady   of   the   Lake 25 


Slides 

The  Enchanted  Peacock 12 

Children  of  all   Nations 50 

Dickens'   Christmas   Carol 12 

Aladdin    and     His    Wonderful 

Lamp    12 

Robin    Hood 24 

The    Wizard    of    Oz 20 

Raggedy  Ann 25 

Cinderella    25 


Silas    Marner 45 

Evangeline    15 

Innocents  Abroad 40 

Comus    24 

American  Letters 36 


FILM   PROJECTORS?     WE  SUPPLY  THEM  AT  NOMINAL   RENTAL  —   NO    NEED   TO    PURCHASE. 
LANTERN   SLIDES?     70,000  TO   CHOOSE    FROM    ON    ALL    SUBJECTS. 

WRITE   FOR   INFORMATION   ABOUT  OUR  YEARLY  CIRCUIT  SERVICE 
A  PLAN  WE  ORIGINATED  —  MAXIMUM  SERVICE  AT  LOWEST  PRICE 


WM.    H.    DUDLEY    VISUAL    EDUCATION    SERVICE, 

736  SO.  WABASH  AVENUE,  CHICAGO,  ILL. 


INC. 


Sandtables  Murals  of  Posters 

California  — 

Colonial  Flower  Arrange-     Pottery  of 

material  ment  New  York 

Puzzled,  I  close  this  brief  outline  of  our  work. 
Which  is  art?  Which  is  Visual  Instruction?  The 
answer  is  unnecessary,  because  we  find  both  depart- 
ments strengthened  by  the  combination,  and  ideas  for 
new,  interesting  and  helpful  work  will  come  faster  than 
time  permits  their  accomplishment. 

By  LENNICE  C.  EYRAUD 

Director   of  Special    Education   in   the 
Bakersfield,  Cal.,  City  Schools 

Educational  Film  Production 

{Concluded  from  page  13) 

requisite  of  a  good  teaching  film  it  is  not  the  only 
objective  to  be  attained.  Just  as  important  are 
items  such  as  planning,  directing,  arranging  the 
proper  sequence,  building  the  scenario,  acting  and 
problems  of  this  sort  which  so  often  are  the  de- 
termining factors  in  the  success  or  failure  of  an 
otherwise  technically  acceptable  production. 

The  writer  of  this  report  has  aided  in  the  produc- 
tion of  teaching  films  at  Ohio  State  University  for 
the  past  seven  years.  He  is  desirous  of  discovering 
the  problems  faced  in  schools  and  colleges  in  such 
production.  It  is  hoped  that  this  column  will  offer 
an  opportunity  for  the  exchange  of  pertinent  ideas 
in  this  field.  He  will  welcome  technical  questions 
in  this  field. 


at  BASS 

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exclugive  features. 


Page  28 


The  Educational  Screen 


IN  SIGHT 


IN  MIND! 


•  Education  marches 
forward! 

•  Visual  instruction 
advances  on  a  vocal 
stepping-stone. 

•  UNIVERSAL  with  a 
leader's  background 
of  fifteen  years  of  non- 
theatrical  service,  leaps 
ahead  of  the  times! 

•  What  are  your 
needs? . .  .  Geographi- 
cal subjects,  musical, 
historical,  current 
events,  cartoon  come- 
dies, feature-length 
motion  pictures?  .  .  . 
Consult  UNIVERSAL! 

Write  for  further 
information  to 

NON-THEATRICAL  DEPARTMENT 

Universal  Pictures 
Corporation 


ROCKEFELLER  CENTER 


NEW  YORK.  N.  Y. 


Current    Film    Releases 


Boulder  Dam  Films  Now  Available  Free 

The  Boulder  Dam  Service  Bureau  announces  a 
change  in  their  policy  of  renting  the  official  Boulder 
Dam  motion  pictures.  These  films  are  now  available 
in  35  mm  and  16  mm  to  schools,  churches  and  com- 
munity groups  without  any  rental  fee  whatever, 
through  the  courtesy  of  large  companies  to  whom  the 
various  length  films  on  Boulder  Dam  have  been  sold. 
Anyone  desiring  one  or  more  of  these  subjects  for  free 
showing  may  make  their  requests  to  the  Boulder  Dam 
Service  Bureau  at  Boulder  City,  Nevada,  who  will  in 
turn  refer  them  to  the  company  or  party  holding  the 
film  that  is  located  nearest  them.  The  enclosure  of  a 
self-addressed  envelope  is  requested  with  all  inquiries. 

Outstanding  Film  Added  to  Blue  List 

Crime  and  Punishment,  the  prize-winning  French 
talkie  has  been  added  to  the  "Blue  List  of  Exceptional 
Films,"  issued  by  the  Garrison  Film  Distributors  Inc., 
New  York  City.  This  new  film  is  now  available  for 
non-theatrical  showings  on  35mm  and  16mm  sound- 
on-film  and  has  over  600  super-imposed  English  titles. 
It  is  the  first  of  ten  new  European  film  productions 
which  will  be  aded  to  the  Blue  List. 

In  line  with  its  policy  of  acquiring  films  of  excep- 
tional merit  for  16mm  distribution  to  schools,  churches 
and  clubs  the  Garrison  Film  Company  has  also  added 
to  its  list  a  series  of  four  animated  cartoons  which  are 
in  efifect  animated  lectures  on  subjects  of  worldwide 
interest.  The  series,  titled  Three  Minutes,  include 
Three  Minutes  in  Ethiopia,  On  the  Pacific  Problem, 
Astronomy  and  Europe  Today.  Each  month  new 
subjects  in  the  series  will  be  added  to  the  Blue  List 
as  soon  as  they  come  over  from  Paris,  where  they  are 
produced  in  English  and  French  versions. 

Horse  Power  in  Action 

Horses  and  mules  play  the  leading  parts  in  a  new 
two-reel  movie  designed  for  educational  and  enter- 
tainment purposes  by  the  Horse  and  Mule  Association 
of  America,  which  offers  the  film  to  any  individual  or 
organization  in  the  United  States  willing  to  sponsor 
a   showing  of  the  film. 

Audiences  will  see  thrilling  scenes  as  ton-weight 
drafters  pit  their  rippling  muscles  against  dynamometer 
pulling  tests,  as  hunters  soar  in  perfect  form  over  bar- 
riers and  experts  point  out  excellent  types  of  Amer- 
ican-bred horse  and  mule  flesh.  Scenes  for  the  sound 
film  were  taken  on  the  race  course,  at  the  side  of 
horse-show  barriers  and  jumps,  pulling  contest  courses, 
at  field  demonstrations  of  big  team  hitches  and  in 
sales  lots  and  judging  rings.  Comfortable  and  correct 
harness  is  awarded  a  part  in  the  film.  Care  in  the 
pasture  and  at  work,  shoeing,  and  the  reason  for  pick- 


January,  1936 


Page  29 


ing  a  mule  with  long-  ears  are  other  parts  in  this  new 
type  of  visual  education. 

The  movie,  which  was  produced  by  Chicago  Film 
Laboratory,  is  available  at  nominal  cost  to  cover  the 
shipping  and  handling  expense.  Individuals,  civic 
groups  or  other  admirers  of  good  horse  flesh  can  ob- 
tain further  information  about  the  film  by  writing  to 
the  Horse  and  Mule  Association  of  America,  407 
South  Dearborn  Street,  Chicago,  Illinois. 

Two  Free  Sound  Subjects 

The  John  E.  Allen  Modern  Talking  Picture  Service 
of  Rochester,  New  York,  announces  the  availability  of 
two  new  16  mm  sound-on-film  subjects.  There's  Only 
One,  a  10  minute  film,  shows  all  principal  points  of 
interest  on  a  trip  through  Washington,  D.  C.  The 
Story  of  Monel  Metal  is  an  industrial  film  of  the  same 
length  which  shows  the  process  of  making  monel  metal, 
its  uses  and  value. 

Bookings  are  made  on  these  films  for  all  portions 
of  the  United  States,  the  user's  only  expense  being 
transportation  charges  from  his  nearest  exchange. 

New  Film-and-Projector  Service  Offered 

Films  Incorporated,  New  York  City,  has  been  or- 
ganized to  provide  the  educational  and  non-theatrical 
field  with  a  complete  motion  picture  service,  which  in- 
cludes the  free  use  of  new  16mm  sound-on-film  projec- 
tion equipment  with  a  semi-monthly  rental  service  of 
films.  ]\Iany  outstanding  English  theatrical  produc- 
tions, such  as  The  Iron  Duke,  Chu  Chin  Chow  and 
Evergreen,  are  included  in  the  programs. 

Complete  details  of  the  plan  and  a  copy  of  their 
sound-on-film  catalog  will  gladly  be  furnished  by  Films 
Incorporated  upon  request. 

Motion  Pictures  on  Better  Housing 

The  ^lotion  Picture  Section  of  the  Federal  Hous- 
ing Administration  (Washington,  D.  C),  recently  an- 
nounced that  the  first  of  their  Better  Housing  News 
Flashes,  which  have  been  running  in  motion  picture 
theatres,  is  now  available  free  for  use  by  schools 
and  clubs.  It  is  anticipated  that  other  films  in  the 
series  will  soon  be  available  for  non-theatrical  exhibi- 
tion. They  do  not  handle  the  National  Housing  Act 
in  a  perfunctory  manner,  but  are  high  in  entertainment 
value  and  show  various  phases  of  better  housing  which 
are  of  interest  to  home  owners  and  merchants. 

Winter  Sports  Film  for  Schools 

A  new  film,  showing  every  kind  of  entertainment  in 
the  snows  of  California,  is  now  ready  for  distribution. 
Gorgeous  scenery,  snow  frolics,  tobogganing,  skiing, 
ski-jumping,  dog-team  rides,  sleigh  rides,  fancy  skat- 
ing, speed-skating,  and  fun  at  night  around  the  huge 
log  fires  are  included  in  this  16  mm.,  2-reel  film.  It  is 
available  for  free  distribution  from  the  Winter  Sports 
Committee,  California  State  Chamber  of  Commerce, 
Ferry  Building,  San  Francisco. 


$60.00  MOVIE  SCREEN 

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screens,    surfaced    exactly    like    the    screen    in    your  y  I  #1    f  w 

neighborhood  theatre.    Mounted  on  spring  roller  and  I  ^^L 

back    board    with   screw   eyes   for   wall   or   ceiling   or  I  ^g      ^ 

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ceiling    brackets.      Order    this    outstanding    bargain 
today.     Satisfaction  guaranteed  or  your  money  back. 

Noiv   Ready  — 

CENTRAL'S  PHOTOGRAPHIC  ALMANAC 
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Packed  with  1001  sensational  movie  bargains. 
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WRITE    FOR    YOUR    COPY   —    IT'S    FREE! 


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At  present  we  have  ready  for  you 

Means  of   Transportation  67  cards  $3.25 

Japan  58  cards  2.75 

Coal  Mining  56  cards  2.75 

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Gladly  sent  on  5-day  approval.     Write  today! 


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MILWAUKEE.  WISCONSIN 


USED      16      MM.      SILENT      FEATURES 
FOR    SALE    $10    PER    REEL! 

IN  GOOD  CONDITION 
ROBINSON  CRUSOE,  4  reels;  THE  PONY  EXPRESS,  5  reels; 
CALIFORNIA  IN  '49,  6  reels:  WORLD'S  FAIR,  2  reels; 
LITTLE  ORPHAN  ANNIE,  5  reels:  THE  DROP  KICK,  4  reels; 
THE  SOPHOMORE,  7  reels;  THREE  MINUTES  TO  GO,  6  feels; 
Rex,  in  WILD  BEAUTY,  5  reels;  Rin-Tin-Tin,  in  THE  CLASH 
OF   THE   WOLVES,   5   reels. 

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FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS        PRINCIPLES    OF   CHEMISTRY 

The  Tisualization  of  high  Bchool  The  core  of  the  year's  work  in 
physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 
classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

VISUAL    SCIENCES  —  Suf  fern,    N.Y. 


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* 

Page  30 


The  Educational  Screen 


Among  the  Producers 


Leica  Photography  in  New  Form 

In  December  1932,  just  as  photographers  were  be- 
ginning to  realize  that  the  miniature  camera  was  a 
serious  instrument,  the  first  number  of  Leica  Photogra- 
phy was  issued  as  an  eight  page  offset  bulletin  by  E. 
Leitz  Inc.,  New  York  City.  The  interest  in  the  little 
magazine  was  tremendous  and  in  April  1934  it  was  is- 
sued in  regular  printed  form.  To  provide  its  readers  with 
much  valuable  information  contributed  by  authorita- 
tive miniature  camera  users  it  was  increased  in  size 
from  time  to  time,  to  include  more  articles  and  illustra- 
tions. 

Leica  Photography  now  appears  in  a  completely  new 
and  interesting  dress.  Its  pages  number  twenty-four, 
including  much  more  material,  and  it  is  profusely  il- 
lustrated. The  entire  layout  is  different,  and  the  illus- 
trations beautifully  reproduced.  Readers  are  always 
invited  to  send  in  suggestions,  ideas  and  photographs 
for  publication  in  the  magazine.  In  this  manner  it 
serves  as  an  exchange  of  ideas  thereby  fostering  the 
progress  of  miniature  photography,  and  the  numerous 
photographs  that  are  reproduced  serve  to  show  the 
miniature  photographer  the  possibilities  of  his  camera. 
A  sample  copy  of  the  new  December  issue  will  be  sent 
upon  request. 

Additions  to  S.  O.  S.  Stock 

The  Trustees  of  Lyman  Howe  Studios,  Wilkes- 
barre.  Pa.,  have  disposed  of  the  entire  stock  to  S.O.S. 
Corporation,  New  York  distributors.  This  marks  the 
latest  in  a  long  series  of  stock  liquidations  handled  by 
S.O.S.  Included  in  the  transaction  were  Powers  and 
Simplex  Projection  Machines,  Lenses,  Motors,  Mazda 
and  Reflector  Arc  Lamphouses,  General  Electric 
Rectifiers,  R.C.A.  Soundheads,  Amplifiers,  Speakers, 
Duplex  Sound  Printers,  Duplex  Film  Polishing  Ma- 
chines, Griswold  Splicers,  and  other  laboratory  ap- 
paratus. 

Central  Camera  Catalogs 

Of  interest  to  Educational  Screen  readers  is  the 
new  "Photographic  Almanac  and  Inventory  Clearance 
Book"  just  prepared  by  Central  Camera  Company,  Chi- 
cago. Its  seventeen  pages  are  filled  with  bargains  in 
new  and  used  movie  projectors  and  cameras,  still  cam- 
eras, and  every  conceivable  type  of  photographic  acces- 
sory and  supplies  of  value  to  the  movie  maker.  Central 
Camera  Company  will  be  glad  to  send  a  copy  of  this 
catalog  of  bargains  to  anyone  writing  in  for  it.  An- 
other service  of  Central  Camera  Company  is  its  16  mm 
film  library,  including  16  mm  silent  features  and  short 
subjects  —  Dramas,  Comedies,  Education  subjects. 
Sports,  Cartoons  and  the  like.  Films  may  be  obtained 
at  a  stated  rental  price  per  subject,  or  vmder  a  special 


Where  the  commercial  firms — whose  activities  have  an 
important  bearing  on  progress  in  the  visual  field — 
are  free  to  tell  their  story  in  their  own  words.  The 
Educational  Screen  is  glad  to  reprint  here,  within  nec- 
essary space  limitations,  such  material  as  seems  to  have 
most    informational    and    news    value    to    our    readers. 


membership  plan  whereby  unlimited  film  service  may 
be  had  for  a  lump  service  fee.  Catalog  and  complete 
information  will  be  furnished  upon  request. 

New  Equipment  for  8  mm.  Filmos 

Extending  the  scope  of  the  8  mm.  Filmo  Cameras, 
Bell  &  Howell  Company  announces  as  available  for 
both  the  Straight  and  Double  8  Cameras  a  new  1-inch 
F  2.7  Taylor-Hobson  Cooke  lens  in  either  universal  or 
focusing  mount;  also  a  Taylor-Hobson  fast  1-inch  F 
1.5  lens  in  focusing  mount.  On  an  8  mm.  camera,  a 
1-inch  lens  compares  in  magnifying  power  with  a  2- 
inch  lens  on  a  16  mm.  camera. 

Announced  at  this  time,  too,  is  a  new  Taylor-Hobson 
Cooke  "semi-tele])hoto"  lens,  the  lyi-inch  F  3.5,  equi- 
valent in  magnifying  power  to  a  3-inch  lens  on  a  16 
mm.  camera  or  a  6-inch  lens  on  a  35  mm.  camera. 
This  completes  the  range  of  lens  focal  lengths  pro- 
vided for  by  the  viewfinder  masks  on  Filmo  8  mm. 
Cameras.  If  longer  lenses  are  desired,  such  as  2-inch, 
3-inch,  and  4-inch,  Taylor-Hobson  16  mm.  camera 
lenses  of  these  focal  lengths  may  be  mounted  suitably 
for  use  on  the  8  mm.  cameras.  The  12^  mm.  F  2.5 
lens  will  continue  as  standard  equipment  on  the 
Filmo  8's. 

Bass  Bargaingram 

A  new  Bargaingram,  No.  219  has  been  issued  by 
the  Bass  Camera  Company  of  Chicago,,  and  like  all 
the  preceding  numbers  of  this  series  of  catalogs,  it 
lists  some  interesting  material  at  interesting  prices. 
Further  details  on  these  photo  and  cine  bargains  will 
be  sent  by  Bass  Camera  Company  on  application. 

The  DeVry  Line 

Refer  to  ad  on  page  3.  To  the  left,  at  the  top, 
is  the  DeVry  Theatre  Sound  Projector.  Directly  un- 
der that,  the  35mm.  Sound  Recording  Camera  with 
the  three-lens  turret,  and  under  that,  the  DeVry  35mm. 
Silent  "E"  Projector.  In  the  middle  row,  from  top 
to  bottom,  is  the  DeVry  Portable  Sound  (35mm.)  unit; 
under  that  the  DeVry  35mm.  "A"  Camera  for  silent 
films,  and  below  that,  the  16mm.  Triple  Claw  Move- 
ment Sound  Unit.  In  the  last  row,  reading  from  the 
top,  is  the  latest  DeVry  Creation,  the  16mm.  Sprocket 
Intermittent  Sound  Unit ;  under  that,  the  DeVry 
16mm.  No.  60  silent  camera ;  and  the  DeVry  16mni. 
"G"  projector,  designed  mostly  for  home  and  class- 
room showings.  Circulars  on  any  item  will  be  sent 
free  on  request. 


January,  1936 


Page  31 


Some  Common  Causes  of  Damage 
to  Slides  and  Films 

( C'ii)ic/i«/i'(/  frcin  page  10) 

worse,  they  become  very  egotistical  and  like  to  strut 
their  "stuff"  before  the  eyes  of  their  less  fortunate 
schoolmates.  In  this  respect,  girls  make  better  oper- 
ators than  bovs.  One  of  the  best  operators  who  has 
ever  come  to  our  notice  is  a  woman.  The  worst 
"horned  cattle"  we  have  to  deal  with  are  ex-theatrical 
operators.  They  are  usually  very  egotistical  and  want 
to  impress  others  with  their  extensive  knowledge  of 
projection.  With  this  in  mind  few  of  them  will  ever 
willingly  admit  a  fault,  even  though  the  fault  has 
detroyed  a  $100.00  reel  of  film.  They  usually  work 
in  haste,  pay  little  heed  to  the  care  of  their  projectors, 
watch  the  picture  instead  of  the  machine  and  the  pic- 
ture, and  are  about  what  we  would  expect  an  un- 
emjiloyed  ex-picture  operator  to  be.  The  true  way  to 
operate  a  projector  (as  is  the  case  with  most  ma- 
chinery) is  by  the  sound  it  produces.  A  variation  in 
the  normal  sound  should  call  for  immediate  attention. 

Lantern  slides  should  be  repacked  in  the  manner 
they  are  packed  when  received  from  the  exchange. 
In  regular  glass  slides  this  calls  for  three  dividers 
(corrugated  board)  at  each  end  and  one  or  two  divid- 
ers between  each  five  slides.  It  is  not  necessary  to 
have  dividers  between  each  two  slides,  but  there  must 
be  plenty  of  packing  at  the  box  ends.  Featherweight 
slides  need  only  be  packed  at  the  box  ends,  the  card- 
board edges  of  these  slides  make  dividers  unnecessary 
between  slides.  Slides  should  be  allowed  to  warm  to 
the  room  temperature  before  placing  them  in  the 
projector,  otherwise  steam  may  form  between  the  plate 
and  cover  glass  and  break  one,  or  the  other,  or  both. 
Small  straight  cracks  seldom  show  on  the  screen. 

Cheating  yourself.  There  are  operators  who  think 
it  is  a  clever  trick  to  get  rid  of  bad  reels  by  putting 
them  in  the  take-up  box  and  thus  winding  the  film  on 
them.  This  is  not  clever  but  foolish  since  a  bad  reel, 
as  pointed  out  in  our  first  paragraph  is  the  worst  sort 
of  a  hazard  and  if  in  the  take-up  box  it  will  do  its 
damage  probably  unnoticed,  only  to  be  caught  by  the 
exchange  and  a  damage  charge  assessed.  Good  projec- 
tion rooms  (booths)  are  furnished  with  several  extra 
good  reels  on  some  of  which  incoming  reels  are  first 
M-ound  before  use  and  the  other  ones  used  for  take- 
up  purposes.  Don't  cheat  yourself  in  an  attempt  to 
cheat  the  other  fellow. 

Now  that  the  centralized  collections  of  visual  aids 
are  becoming  more  common  schools  are  beginning  to 
use  slides  and  films  in  an  increasing  volume,  and  it  is 
well  for  both  "experienced"  users  as  well  as  "inex- 
perienced" users  to  consider  these  possible  causes  of 
damage.  Excessive  damages  must  be  repaired  at  the 
expense  of  the  one  responsible  for  the  damage,  and  as 
films  cost  from  $24.00  to  $100.00  a  reel  and  slides  from 
75c  to  $1.25  each,  no  one  wants  to  be  responsible  for 
excessive  damage. 


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find  '"1000  and  One"  indispensable. 

Published  annually  for  eleven  successive  years, 
"1000  and  One"  is  the  recognized  standard  film  ref- 
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The  current  edition  (144  pages)  lists  over  4,000 
films,  35mm,  and  16mm.,  silent  and  sound,  for  edu- 
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Use  the  coupon  below  to  order  "1000  and  One"  with  or 
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Send  me  the  11th  edition  of  "1000  and  One."  75c  enclosed  D 
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unusual  finance  plan  which  will  enable 
every  school,  church  and  similar  insti- 
tution to  own  the  latest  16mm.  or 
35mm.  SOUND  ON  FILM  PRO- 
JECTOR on  liberal  and  convenient 
TERMS. 

WRITE  FOR  COMPLETE  DETAILS 

We  sell  BELL  &  HOWELL,  AMPRO,  VIC- 
TOR, R.C.A,,  SYNCROFILM,  as  well  as 
DE  VRY  Equipment. 

WE  ALSO  HAVE  SEVERAL  SLIGHTLY  USED  AND 
REPOSSESSED  TALKING  PICTURE  PROJECTORS 
THAT  WE  CAN  OFFER  AT  LESS  THAN  COST. 
YOU  CAN  PURCHASE  THESE  AS  WELL  ON  THE 
ABOVE  CONVENIENT  PAYMENT  PLAN.  ABSO- 
LUTELY NO  INTEREST  CHARGE. 

SUNNY   SCHICK 

NATIONAL  BROKERS 

407   W.   WASHINGTON   BLVD. 

FORT  WAYNE,  IND, 


Page  32 


The  Educational  Screen 


Here    They    Are 


FILMS 

Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,   New  York  City 

Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport,  la. 

Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 
Rochester,  N.  Y. 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
Edited  Pictures  System,  Inc.         (1,  4) 

330  W.  42nd  St.,  New  York  City 
Erpi  Picture  Consultants,  Inc.  (2, 4,  5,  6) 

250  W.  S7th  St.,  New   York  City 
Films  Incorporated  (5) 

500  Fifth  .\ve..  New  York  City 

(See  advertisement  on  page  23) 

Garrison  Film  Distributors  (2,  5) 

729   Seventh  Ave.,   New  York  City 

(See  advertisement  on  page  29) 

Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,  111. 

I  See  advertisement  on  page  26) 

Institutional  Cinema  Service,  Inc.  (3,  6) 
130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

409  McAlphin  Ave.,  Cincinnati,  O. 

(See  advertisement  on  page  26) 

Pinkney   Film  Service   Co.  (1,  4) 

1028   Forbes    St.,    Pittsburgh,    Pa. 
Ray  Bell  Films,  Inc.  (3,  6) 

2269  Ford  Rd.,  St.  Paul,  Minn. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal   Pictures   Corp.  (3) 

Rockefeller   Center,   New   York   City 

(See  advertisement  on  page  28) 

Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 

Wholesome  Films  Service,  Inc.  (3,  4) 
48  Melrose   St.,  Boston,  Mass. 

William  A.  Dudley  Visual  Education 
Service  (4) 

736  S.  Wabash  Ave,,  Chicago 

(See  advertisement  on  page  27) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 

MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

( See  advertisement  on  page  1 ) 

Bass  Camera  Company  (6) 

179  W.  Madison  St.,  Chicago 

( See  advertisement  on  page  27) 

Bell  &  Howell  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    III. 
(See  advertisement  on  inside  back  cover) 

Eastman    Kodak    Co.  (4) 

Rochester,   N.   Y. 
(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 


Edited   Pictures  System,  Inc.  (1) 

330   W.   42nd    St.,    New   York   City 

Erpi  Picture  Consultants,  Inc.  (2, 4, 5,  6) 
(Western   Electric   Sound    System) 
250  W.  57th  St.,  New  York  City 

Herman   A.    DeVry,   Inc.  (3,   6) 

1111    Center    St.,   Chicago 

(See  advertisement  on  page  2) 

Holmes  Projector  Co.  (3) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on  page  22) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See  advertisement  on  page  26) 

International   Projector   Corp.        (3,  6) 
90  Gold  St.,  New  York  City 
(See  advertisement  on  inside  front  cover) 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  26) 

RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  page  19) 

Regina  Photo  Supply  Ltd.  (3,  6) 

1924   Rose    St.,    Regina,    Sask. 
S.  O.  S.  Corporation  (3,  6) 

1600  Broadway,  New  York  City 
Sunny  Schick,  National  Brokers  (3,  6) 

407   W.   Washington   Blvd. 
Fort  Wayne,  Ind. 

(See  advertisement  on  page  31) 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on  page  4) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston,  Mass. 
Weber   Machine   Corp.  (2,  5) 

59  Rutter  St.,  Rochester,  N.  Y. 

(See  advertisement  on  page  25) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES 

J.  Greenwald,  Inc. 

681  Lexington  Ave.,  New  York  City 
The  Photoart  House 
844   N.   Plankinton   Ave.,   Milwaukee, 
Wis. 

(See  advertisement,  on  page  29) 

POST  CARD  REPRODUCTIONS 

J.  Greenwald,  Inc. 
681   Le.xington  Ave.,  New  York  City 

SCREENS 

Central  Camera  Co. 

230  S.  Wabash  Ave.,   Chicago 

(See  advertisement  on  page  29) 

Da-Lite  Screen  Co. 

2721   N.   Crawford   Ave.,   Chicago 

(See  advertisement  on  page  25) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
Motion  Picture  Screen  &  Accessories  Co. 
524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  26) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


A    Trade     Directory 
for  the   Visual    Field 


SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 
Edited    Pictures   System,   Inc. 
330  W.  42nd   St.,  New  York  City 

Ideal  Pictures  Corp. 
30  E.   Eighth   St.,   Chicago,   111. 

(See  advertisement  on  page  26) 

Keystone   View  Co. 
Meadville,   Pa. 

(See  advertisement  on  page  24) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New  York  City 

(See  advertisement  on  page  29) 

Spencer   Lens   Co. 

19  Doat  St.,  Buffalo,  N.  Y. 
Visual  Education  Service 

470  Stuart  St.,  Boston,  Mass. 
Visual  Sciences 

Suffern,  New  York 

(See  advertisement  on  page  29) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111   Center   St.,   Chicago 

(See  advertisement  on  page  2) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  24 ) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 

Rochester,  N.  Y. 

(See  advertisement  on  page  21) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
E.  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 
Regina  Photo  Supply  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 
Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm   supplies 

35    mm. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)   indicates    firm   supplies 

35   mm. 

sound   and  silent. 

(4)   indicates   firm   supplies 

16   mm. 

silent. 

(5)   indicates    firm   supplies 

16   mm. 

sound-on-film. 

(6)    indicates    firm   supplies 

16    mm. 

sound  and  silent. 

Conftnuous  inserlions  under  one  heading,  $1.50  per  Issue;  additional  listings  under  other  headings,  75c  each. 


w^SmSi^^M&M 


PtfOtfc  LllMary 

Kansas  City.  Mo. 

Toficharf  Library 


I  -^      <y-^ 


CONVENTION   NUMBER 


Educationa 


COMBINED  WITH 


Visual  Instruction  News 


CONTENTS 


Experiences  With  a  State  Cooperative 
Film  Library 

The  Opaque  Projector  Applied  to  Written 
Composition  Work 

Large-Group-Instruction  Through  the  Use  of 
Visual  Aids 

Why  a  Department  of  Visual  Education? 


Single      Copies      25c 
•  $2.00    a    Year  • 


FEBRUARY 


1936 


PROJECTORS 


=     _    AND 


16  MM.  MOV^IE    CA.MERA 

MADE^yTME  WORLD's    OLDEST  AND    LARGEST    MANUFACTURERS 
OF    STANDARD     PROFESSIONAL    MOTION    PICTURE    EQUIPMENT 


^i^^r^^^  DELUXE 
SOUND  PROJECTOR 


^^^SEM|-PROr[SSIONAL 
SOUND  PROJECTOR  (ARC) 


^un^^  PORTABLE 
SOUND  PROJECTOR 


,%9^SEMI-P(!Or[SSiONAl 

SOLND  PROJECTOR  (INCANDESCENT) 


A  ^^^ftOT/y/^  35  mm.  PROJECTOP  for     everv     r  e  q^u  i  r  e  a\ent 

INTERNATIONAL     PROJECTOR    CORPORATION 

88-96   GOLD    ST.,  NEW   YORK,    N.Y. 


February,  1936 


Page  3  5 


Edit 


oria 


The  St.  Louis  Meeting 

Present  jirospects  for  the  winter  meet- 
ing of  the  Department  of  Visual  Instruc- 
tion at  St.  Louis.  I'^ebruary  24  to  26,  are 
excellent.  (The  full  program  appears  on 
page  51  of  this  issue).  The  opening 
luncheon  on  Monday  noon  at  the  Mel- 
Ijourne  Hotel  seems  already  assured  of 
record  attendance.  Further  reservations 
can  be  acce])ted  u])  to  the  last  minute. 
Perha])s  the  outstanding  feature  of  the 
l)rogram  is  the  Sym])osium  on  Sound  and 
Silent  Films  in  Teaching,  with  Professor 
Frank  N.  Freeman  presiding.  Sound 
films  are  in  the  limelight  today  and  a 
live  discussion  is  inevitable.  This  Sym- 
jiosium  occupies  the  entire  session 
Wednesday  afternoon.  It  should  not  be 
missed. 

The  only  item  to  be  omitted  from  the 
program  as  printed  in  our  January  issue 
is  the  lecture-presentation  by  Arthur  C. 
Pillsbury.  Despite  long  effort,  it  proved 
impossible  to  bring  St.  Louis  into  Mr. 
Pillsbury's  nation-wide  speaking  sched- 
ule. Several  other  features  have  been 
added,  however,  since  the  January  print- 
ing. As  it  now  stands  the  program  offers 
an  interesting  and  thoroughly  profitable 
two  days  for  Department  members, 
friends  and  visitors.  "Be  in  St.  Louis 
on  l<"ebruary  24  to  26"  seems  sound  ad- 
vice to  the  visual   field. 

Two  Signs  of  Progress 

L'ntil  1936  the  admonition,  "Know 
Thyself",  has  meant  little  to  the  visual 
field.  It  is  excellent  evidence  of  "grow- 
ing ])ains"  in  the  visual  instruction  move- 
ment that  the  field  as  a  whole  now  aims 
to  find  out  the  facts  about  itself.  Never 
before  January,  1936.  had  a  detailed  sur- 
vey of  visual  equi|)ment  and  activity  in 
American  schools  been  attempted  on  a 
national  scale.  In  that  month  began  two 
such  surveys  whose  combined  results 
should  spell  progress. 

The  Washington  Qusstionnaire 

The  United  States  Office  of  Education, 
and  the  American  Council  of  Education, 
have  launched  a  very  significant  effort. 
On  January  27  and  28  were  mailed  from 
Washington  some  21,000  elaborate  ques- 
tionnaires to  Superintendents  of  Schools 
throughout  the  country.  The  document  is 
exhaustive,  is  exceedingly  well  planned, 
and  the  printing  arrangement  on  both 
sides  of  a  single  sheet  makes  for  desirable 
compactness  of  record.  This  sheet  calls 
not  only  for  summary  information  on 
present  equipment  but  adds  many  perti- 
nent questions  on  technique,  sources,  ad- 
{Continucd  on  page  41) 


Educational    Screen 

Combined     with 

Visual    Instruction    News 
FEBRUARY,   1936 

VOLUME      XV  NUMBER      2 


CONTENTS 

Experiences  with  a  State  Cooperative  Film  Library. 

Russell  T.  Gregg 39 

The  Opaque  Projector  Applied  to  Written  Composition 

Work.     Donald  R.  Bosley.. 42 

Large-Group-Instruction  Through  the  Use  of  Visual 

Aids.     F.  Marshall  Worrell. 43 

Why  a  Department  of  Visual  Education? 

D.  C.  Thornton 46 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers ....47 

The  Film  Estimates 48 

The  Church  Field.    Conducted  by  Mary  Seattle  Brady 49 

Department  of  Visual  Instruction. 

Conducted  by  E.  C.  Waggoner 51 

Film  Production  In  the  Educational  Field. 

Conducted  by  F.  W.  Davis 52 

School  Department. 

Conducted  by  Dr.  F.  Dean  McClusky... 54 

Current  Film  Releases. 58 

Among  the  Producers 64 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field 68 

Contents  of  previous  issues  listed  in  Education  Index. 

General  and  Editorial  Offices,  64  East  Lake  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  February,  1936  by  the  Edu- 
cational  Screen,    Inc.      Published    every   month   except  July    and    August. 

$2.00  a  Year        (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 

DIRECTORATE  AND  STAFF 


Herbert  E.  Slaught,  Pres. 
Nelson  L.  Greene,  Editor 
Ellsworth  C.  Dent 
Evelyn  J.  Baker 
Josephine  Hoffman 


Stanley  R.  Greens 
R.  F.  H.  Johnson 
Marlon  F.  Lanphler 
F.  Dean  McClusky 
Stella  Evelyn  Myers 


Page  36 


The  Educational  Screen 


ML  25  flnimRTOPHOnE 

BRinCS  HEIll  FRIHE  TO  H  UIORLD-FfllllOUS   nfllHE 

©Price  need  no  longer  be  an  obstacle  to  the  enjoyment  of  Quality  sound  picture  reproduction. 
Model  25  Sound-on-Film  ANIMATOPHONE  (for  silent  and  sound  projection)  is  priced  at  only 
$360.00!    In  addition  to  embodying  the  ingenious  simplifications  and  mechanical  superiorities  that 

have  always  been  traditional  with  Victor  Cine  products,  Model  25  has  the  distinction  of  being  the  World's  Smallest  (A5  lbs.  total), 
Most  Compact,  and  Lowest  Priced  HIGH  QUALITY  Sound  Picture  Reproducer.  It  is  the  ONLY  l6mm  sound  projector  that 
may  be  operated  on  D.  C.  as  well  as  A.  C.  without  use  of  converter.  Ask  for  demonstration.  .  .  .  Let  your  own  eyes  and  ears 
prove  that  ANIA\ATOPHONE  25  is  without  rival, 


vicinn  nnimpinRRRPH  nnRpnRflTinn.nsKPvTJ.'r.! 


GHicnco 

npiii  vnRi^  •  inc  Dnncirc 


February,  19} 6 


Page  39 


Experiences  with  a  State  Cooperative 
Film  Library 


By      RUSSELL      T.      GREGG 

Supervisor  of  Visual  Aids  Service,  and 

Assistant   Principal   of   University   High   School, 

University  of  Illinois 


THE  cjoperative  plan,  by  means  of  which  a  li- 
brary of  educational  films  has  been  developed 
in  Illinois,  has  aroused  widespread  interest. 
This  article  has  been  prepared  in  answer  to  a  num- 
ber of  requests  for  information  about  the  plan. 
It  is  ho])ed  that  the  following  explanation  may  en- 
able other  schools  interested  in  building  film  li- 
braries to  overcome  in  some  measure  the  difficulties 
arising  from  the  lack  of  sufficient  appropriated 
funds. 

In  the  winter  of  1931-32  a  committee  of  school 
superintendents  asked  the  president  of  the  Univer- 
sity of  Illinois  if  it  were  not  desirable  and  practica- 
ble for  the  University  to  develop  a  library  of  visual 
aids  for  the  use  of  the  schools  in  the  state.  The 
superintendents  pointed  out  that  certain  other  state 
universities  were  providing  the  schools  in  their 
states  with  such  materials,  that  there  was  a  demand 
for  these  materials  among  Illinois  teachers,  and  ad- 
ministrators, and  that  there  was  no  source  in  the- 
state  which  could  satisfy  the  demand. 

As  a  result  of  this  request,  a  member  of  the  fac- 
ulty of  the  College  of  Education  was  asked  to  make 
a  survey  to  determine  what  other  universities  were 
doing  in  the  field  of  visual  education.  Sources  were 
to  be  canvassed  from  which  visual  education  ma- 
terials could  be  secured,  either  by  free  loan  or  by 
purchase.  The  findings  of  this  survey  were  re- 
ported to  the  dean  of  the  College  of  Education,  and 
during  the  summer  of  1932  the  writer  was  asked  to 
inaugurate  the  Visual  Aids  Service  for  the  schools 
of  Illinois  and  to  serve  as  the  supervisor  of  this 
service.*  Unfortunately  no  funds  were  available  for 
the  purchase  of  materials.  The  motion-picture 
films  and  glass  slides  oflfered  during  the  school  year 
1932-33  were  therefore  secured  from  many  widely 
separated  sources  on  an  indefinite  free-loan  plan.'' 

Before  securing  any  materials,  however,  the  su- 
pervisor thought  it  wise  to  make  a  preliminary 
survey  of  a  number  of  representative  schools  of  the 
state  to  determine  the  kind  of  projection  equipment 

iThe  Visual  Aids  Service  has  since  been  transferred  from  the 
College  of  Education  to  the  Division  of  University  Exten- 
sion. 


^Persons  interested  in  locating  sources  of  films  may  consult 
one  or  both  of  the  following :  1000  and  One— the  Blue  Book 
of  Non-Theatrical  Films,  Chicago,  the  Educational  Screen, 
Inc. ;  Directory  of  Film  Sources,  Davenport,  la.,  Victor  Ani- 
matograph  Corporation. 


they  weie  using.  This  survey  revealed  the  fact 
that  only  a  few  of  the  schools  were  equipped  with 
16-mm.  projectors,  while  a  large  number  of  them 
were  equipped  with  35-mm.  projectors.  Many  were 
equipped  with  lantern-slide  projectors.  In  the  light 
of  these  findings  it  was  decided  to  begin  with  a  li- 
brary made  up  largely  of  35-mm.  films  and  glass 
slides,  although  the  educational  advantages  of  the 
16-mm.  filtu  were  fully  recognized. 

Mimeographed  catalogs  listing  the  titles  and 
brief  descriptions  of  one  hundred  and  forty-eight 
35-mm.  films,  thirty  16-mm.  films,  and  forty-three 
sets  of  glass  slides  in  the  Visual  Aids  Service  li- 
brary, were  sent  to  approximately  four  hundred 
schools  early  in  the  school  year  1932-33.  All  these 
materials  were  secured  on  an  indefinite  free-loan 
basis  and  were  selected  with  one  or  both  of  the  fol- 
lowing points  in  mind:  (1)  Does  an  examination 
of  the  projected  picture  indicate  that  it  is  of  instru- 
mental value?  (2)  Is  the  film  listed  as  an  educa- 
tional film  in  the  catalogs  of  films  published  by  cer- 
tain selected  universities? 

By  the  fall  of  1933  several  additional  schools  had 
been  equipped  with  16-mm.  projectors,  and  the  su- 
pervisor was  very  anxious  to  ofi'er  these  schools  a 
larger  library  o  f  16-mm.  educational  films.  He 
found  it  difficult,  however,  to  secure  16-mm.  films 
on  an  indefinite  free-loan  basis,  and  funds  with 
which  to  purchase  films  were  not  yet  forthcoming. 
As  a  matter  of  necessity,  therefore,  a  plan  for  de- 
veloping a  cooperative  film  library  was  formulated 
and  explained  by  correspondence  to  a  number  of 
selected  school  administrators. 

Some  of  the  details  have  naturally  been  altered 
in  the  last  two  years,  but  the  plan  now  in  operation 
and  described  in  the  following  paragraphs  is  es- 
sentially the  same  as  that  set  up  in  1933. 

To  become  a  member  of  the  cooperative  library 
of  16-mm.  silent  films  a  school  deposits  a  400-ft. 
reel'  of  film  in  the  Visual  Aids  Service  library  and 
pays  a  service  fee  of  $5  a  year  to  cover  the  cost  of 
inspecting,  repairing,  and  packing  the  materials. 
The  depositing  of  the  film  entitles  the  school  to  co- 
operative membership  for  a  period  of  two  years. 
At  the  end  of  this  time  the  school  must  deposit  an- 
other film  to  retain  its  membership. 

SThe   film   deposited   must  be  an   Eastman  classroom   film,  or 
some  other  film  of  equivalent  value. 


Page  40 


The  'Educational  Screen 


All  films  thus  deposited  become  the  property  ot 
the  Visual  Aids  Service.  If  the  school  wishes  to 
withdraw  from  the  cooperating  library  at  the  end 
of  the  first  year  of  its  membership,  one  half  the 
purchase  price  of  the  film  is  refunded.^  Each  in- 
dividual school  using  the  films  under  the  coopera- 
tive plan  must  deposit  a  film.  Schools  in  the  same 
system,  however,  may  combine  for  the  service  as 
long  as  the  total  of  their  enrollments  does  not  ex- 
ceed 1,000  pupils. 

A  cooperating  school  which  deposits  one  film  is 
entitled  to  the  following  service  during  each  of  the 
two  years  of  membership:  (1)  thirty-six  bookings 
of  16-mm.  silent  films  classified  as  distinctly  in- 
structional; (2)  an  unlimited  number  of  16-mm. 
silent  films  classified  as  scenic  or  industrial  ;^  and, 
(3)  an  unlimited  number  of  glass-slide  sets. 


At  Headquarters  of  the  Visual  Aids  Service 

A  school  may,  if  it  desires,  deposit  more  than  one 
film  each  two  years.  For  every  extra  film  deposited, 
the  school  pays  an  annual  service  fee  of  $5  and  is 
entitled  to  thirty-six  additional  bookings  of  the  in- 
structional films.  All  transportation  costs  on  the 
materials  are  paid  by  the  borrower.  To  reduce  the 
transportation  costs,  a  school  may  maintain  a  post- 
age deposit  with  the  Visual  Aids  Service. 

The  films  deposited  by  cooperating  schools  may 
be  selected  by  the  teachers  or  administrators  of  the 
schools,  subject  to  approval  by  the  Visual  Aids 
Service.  In  practice,  however,  most  of  the  coop- 
erating schools  have  left  the  selection  of  films  to  the 
Service.  In  such  instances  the  Service  orders  the 
films  and  bills  the  schools  for  the  amount  of  the 
purchase  price.  A  statement  that  a  film  was  de- 
posited by  a  certain  school  follows  the  description 
of  each  deposited  film  in  the  annual  catalog. 

A  16-mm.  sound-on-film  library  is  now  being  in- 
augurated on  a  cooperative  plan  similar  to  that  of 
the  16-mm.  silent-film  library  described  above.  A 
school  depositing  a  sound  film  is  entitled  to  three 

<It  may  be  of  interest  to  the  reader  to  know  that  as  yet  no 
school  has  asked  to  withdraw  from  the  cooperative  library. 

6The  titles  of  the  instructional  films  are  marked  by  asterisks 
in  the  annual  catalog  of  motion-picture  films  and  glass  slides 
while  the  titles  of  all  scenic  and  industrial  films  are  not  so 
marked. 


years'  service  from  the  sound-on-film  library  in- 
stead of  two  years'  service  as  in  the  case  of  the 
16-mm.  silent-film  library.  An  annual  service  fee 
of  $5  is  charged.  Schools,  however,  that  are  also 
cooperating  members  of  the  silent-film  library  do 
not  pay  an  additional  service  fee  for  the  sound-on- 
film  service. 

Eight  schools  became  cooperating  members  dur- 
ing the  school  year  1933-34,  depositing  a  total  of 
ten  instructional  films  in  the  Visual  Aids  Service 
Library.  During  the  next  school  year,  1934-35, 
thirty-seven  schools  were  cooperating  and  had  de- 
posited forty-two  instructional  films.  To  date  a 
total  of  seventy-two  schools  have  deposited  eighty- 
three  reels  of  film. 

As  was  to  be  expected,  the  cooperative  film  li- 
brary developed  rather  slowly  at  first,  since  the 
number  of  films  available  to  cooperating  school-: 
was  limited.  School  administrators  who  deposited 
films  during  the  first  year  or  two  were  persons  who 
were  capable  of  looking  into  the  future  and  visual- 
izing the  possibilities  of  the  cooperative  plan.  At 
the  present  time,  early  in  the  third  year  of  the  de- 
velopment of  the  cooperative  library,  it  is  very 
encouraging  to  note  that  no  longer  is  it  necessary 
to  urge  principals  and  superintendents  to  deposit 
films  in  the  cooperative  film  library ;  they  now  re- 
quest the  privilege  of  cooperating.  Since  the  mid- 
dle of  September,  when  the  1935-36  catalog  was 
distributed,  twenty-five  schools  have  each  deposited 
a  film  in  the  library. 

A  few  statistics  showing  the  amount  of  material 
available  from  the  Visual  Aids  Service  library  from 
year  to  year,  and  how  much  of  this  material  was 
distributed  to  schools,  will  probably  be  of  interest 
to  the  reader.  Table  I  shows  that  the  number  of 
reels  of  35-mm.  film  and  sets  of  glass  slides  in  the 
library  has  increased  very  little  since  the  first  year 
of  the  Service,  while  the  number  of  reels  of  16-mm. 
film   has   increased   rapidly.      The    distribution    of 

TABLE  I 

Kinds  and  Amount  of  Visual  Instruction  Material  in  the  Visual 

Aids  Service  Library  During  the  Years,  1932-33  to  1935-36 

Reels  of  films 

Kinds  of  Material  deposited 

Reels  of  Sets  of  by  coop-  Number 

Year           16mm.    16mm.     3Smm.  glass     erating  ofbor- 

silent      sound      silent  slides     schools  rowers 

1932-33              30           0           148  43             0  99 

1933-34              78           0           156  43           10  120 

1934-35             160           0           170  44           42  211 

1935-36            306           8           212  44           83  ? 

35-mm.  films  will  be  discontinued  within  the  next 
year  or  two,  but  it  is  hoped  that  the  number  of  sets 
of  glass  slides  can  be  greatly  increased.  Although 
the  university  has  appropriated  less  than  $1000  to 
the  Visual  Aids  Service  for  the  purchase  of  visual- 
instruction  materials,  the  value  of  the  film  and 
slides  now  available  from  the  library  is  conserva- 
tively estimated  at  $12,000. 


February,  1936 


Page  41 


TABLE  II 

Amount  of  Distribulion  of  Various 

Kinds  of  Visual  Inst 

ruction  Materials  by  the  Visual  Aids  Service 

by  Years 

16mm  Films 

35mm 

Films 

Sets  of  Glass  Slides 

Month 

1932- 

1933-        1934- 

1935- 

1932- 

1933- 

1934- 

1935- 

1932- 

1933- 

1934- 

1935- 

1933 

1934          1935 

1936 

1933 

1934 

1935 

1936 

1933 

1934 

1935 

1936 

September 

0 

2             29 

135 

2 

3 

5 

8 

0 

3 

5 

4 

October 

3 

10           143 

499 

14 

68 

20 

51 

0 

21 

30 

42 

November 

8 

46           253 

625 

31 

93 

35 

83 

3 

25 

31 

34 

December 

10 

33           249 

628 

41 

83 

61 

34 

5 

17 

37 

28 

January 

IS 

46           375 

662 

72 

112 

95 

63 

14 

18 

26 

46 

February 

18 

62           485 

82 

125 

100 

21 

27 

50 

. 

March 

20 

120           402 

120 

125 

101 

22 

38 

51 

April 

IS 

96           375 

100 

95 

137 

21 

30 

33 

May 

8 

71            289 

80 

67 

120 

11 

18 

23 

June 

0 

0             19 

4 

9 

2 

0 

0 

2 

Total 

97 

486          2619 

546 

780 

676 

97 

192 

288 

Table  II  shows,  by  months,  the  distribution  of 
16-mm.  films,  3S-mm.  films,  and  of  sets  of  glass 
slides  for  the  entire  period  the  Visual  Aids  Service 
has  been  functioning.  It  should  be  noted  that  the 
distribution  of  35-mm.  films  has  decreased,  while 
the  distribution  of  16-mm.  films  has  increased  tre- 
mendously. On  the  basis  of  the  distribution  of 
16-mm.  films  for  the  months  of  September  and  Oc- 
tober of  the  present  year  and  of  the  bookings  al- 
ready made  for  future  delivery,  it  is  predicted  that 
as  many  as  6,000  reels  of  16-mm.  films  will  be  dis- 
tributed during  the  current  school  year. 

In  conclusion  it  seems  appropriate  to  attempt  an 
answer  to  the  question  that  is  likely  to  come  to  the 
reader's  mind :  Why  ask  the  various  schools  to  de- 
posit films  when  it  would  involve  less  administra- 
tive routine  to  assess  them  $17^  for  the  same  annual 
service  they  receive  as  members  of  the  16-mm.  sil- 
ent-film library? 


^The  yearly  cost  to  a  cooperating  school  is  $17  plus  transpor- 
tation costs.  The  deposited  film  costs  $24  (if  a  film  costing 
less  is  deposited,  the  difiference  must  be  made  up  in  cash) 
and  the  two  service  fees  for  the  two-year  period  amount  to 
$10.  Thus  the  cost  for  the  two  years'  service  is  $34,  or  an 
average  yearly  cost  of  $17. 


When  the  Visual  Aids  Service  was  inaugurated, 
there  were  no  appropriated  funds  with  which  to 
buy  films.  It  was  not  possible  to  develop  a  library 
of  sufficient  worth  to  justify  the  payment  by  school 
administrators  of  a  sufficiently  high  annual  fee  to 
enable  the  Service  to  purchase  films.  In  other 
words,  the  cooperative  plan  was  necessary  to  es- 
tablish the  library  in  the  beginning. 

It  is  true  that  the  library  now  contains  sufficient 
material  to  allow  the  cooperative  idea  to  expire, 
but  the  cooperative  idea  seems  to  have  certain 
psychological  advantages  over  the  flat  rental  plan. 
The  idea  of  buying  only  one  film  and  of  being 
therefore  privileged  to  use  many,  is  one  that  school- 
board  members  can  readily  understand.  When, 
furthermore,  a  school  administrator  opens  the  cata- 
log of  films  and  finds  the  names  of  neighboring 
schools  listed  as  cooperating  members,  he  wants 
to  see  his  own  school  included.  Each  cooperating 
school,  finally,  knows  that  it  has  a  part  interest  in 
the  central  library,  a  feeling  that  would  not  exist 
if  the  school  secured  the  service  by  paying  a  stip- 
ulated yearly  fee. 


Editorial 

{Continued  from  page  35) 

ministrative  policies,  problems  of  organization,  and 
covers  radio,  phonograph,  and  sound-system  installa- 
tions as  well.  Complete  answers  to  this  great  question- 
naire, when  analyzed,  tabulated,  and  made  available  in 
printed  form  from  the  Office  of  Education,  will  be  an 
invaluable  asset  in  the  future  development  of  visual 
instruction.  No  superintendent  should  fail  to  supply  his 
quota  of  information  to  these  national  statistics. 
The  Questionnaire  from  the  Department  of  Visual 
Instruction  of  the  N.  E.  A. 
The  D.V.I,  questionnaire  is  likewise  national  in 
scope,  but  diiTers  markedly  from  the  Washington  docu- 
ment in  several  respects.  It  goes  to  individual  schools, 
to  Principals  instead  of  Superintendents ;  it  is  limited 
solely  to  present  visual  equipment  and  its  use,  is  con- 
tained complete  on  one  side  of  a  standard  postcard,  and 
can  be  filled  out  in  five  minutes  or  less.  Return  of  the 
card  also  entitles  the  Principal  to  a  reduced  rate  for 
membership  in  the  Department. 


The  D.V.I,  questionnaire  began  mailing  on  January 
11th.  Unlike  the  Washington  mailing,  this  will  be 
gradual  and  will  extend  over  a  considerable  period. 
First  returns  have  shown  not  only  the  data  asked  in 
careful  detail,  but  a  gratifyingly  large  percentage  of 
Principals  taking  membership  in  the  Department  and 
in  the  N.E.A.  Inasmuch  as  one  important  purpose  of 
the  efTort  was  to  gain  memberships  for  the  Department, 
this  questionnaire  seems  to  open  up  interesting  pos- 
sibilities for  real  growth  and  correspondingly  greater 
service  by  the  Department  to  the  field. 

The  two  questionnaires,  going  to  different  individ- 
uals, should  serve  to  check  and  complement  each  other. 
Superintendents  and  Principals,  being  normally  en- 
dowed with  that  well-known  attribute  called  "human 
nature",  may  be  as  prone  to  neglect  as  to  fulfill.  Gaps 
in  the  returns  of  either  will  often  be  filled  by  returns 
from  the  other.  Further,  names  of  Directors  of  Visual 
Instruction  and  "Parties  most  interested",  received  on 
both  questionnaires,  may  be  combined  to  issue  a  new 
and  enlarged  "Visual  Instruction  Directory"  for  the 
entire  country.  Nelson  L.  Greene 


Page  42 


The  Educational  Screen 


The  Opaque  Projector  Applied  to 
Written  Composition  Work 


THANKS  to  the  versatility  of  the  opaque  pro- 
jector, "theme  day"  has  been  made  pleasantly 
profitable  to  my  English  classes  and  genu- 
inely gratifying  to  me.  It  is  no  longer  simply  the 
day  before  I  have  to  face  the  chore  of  checking  the 
papers. 

Any  teacher  who  has  ever  dedicated  the  better 
part  of  a  week-end  to  checking  written  composi- 
tions knows  the  futility  of  the  effort.  He  will  have 
sought  other  ways  of  securing  for  his  students  the 
possible  benefits  of  written  work,  and  he  will  have 
considered  these  other  ways  effective  to  the  degree 
in  which  they  make  the  work  of  checking  the  pa- 
pers a  class-shared,  class-time  activity.  Exchang- 
ing papers  in  class,  reading  them  in  class,  and  hav- 
ing some  put  on  the  board  are  standard  practices, 
but  they  are  slow  and  relatively  ineffective. 

The  ideal  method,  it  is  easy  to  imagine,  would 
be  to  use  some  magic  device  which  could  instantly 
reproduce  all  the  themes  of  the  class  and  provide 
each  member  with  a  copy  of  the  collection.  The 
class  could  then  proceed  to  criticize,  and  they  could 
do  so  with  a  thoroughness  permitted  by  their  all 
having  written  copies  to  follow.  Such  a  device 
would  afford  the  stimulus  to  invention  and  accuracy 
that  accompanies  the  knowledge  that  one  is  writing 
for  publication.  Such  a  device  would  afford  each 
student  the  collective  benefit  of  participating  in  the 
correction  of  the  collective  errors  of  the  class.  And, 
most  happily,  it  would  relieve  the  teacher  of  the  col- 
lective burden  of  that  most  dreaded  of  chores,  theme 
correcting,  —  an  exercise  he  presumably  does  not 
need. 

Possibly  some  photostatic  process  of  duplication 
will  be  perfected  some  day  which  will  be  cheap 
enough,  quick  enough,  and  simple  enough  to  be 
used  in  the  classroom.  At  present  there  is  no  such 
apparatus,  and  it  appears  that  there  will  be  none 
for  some  time.  In  the  meantime,  however,  I  find 
an  opaque  projector  to  possess  most  of  the  desired 
magic  qualities. 

The  procedure  for  its  use  is  simple.  On  the  day 
of  assignment,  the  students  are  instructed  to  write 
carefully  in  ink  and  to  leave  a  margin  wide  enough 
so  that  the  written  area  will  be  not  more  than  six 
inches  wide.  No  limits  as  to  length  need  be  im- 
posed for  the  theme  can  be  projected  a  section  at 
a  time  as  read.  The  name  of  the  writer  may  be 
written  in  an  upper  corner  or  some  place  where  it 


By     DONALD     R.     BOSLEY 

Teacher  of   English   and   Journalism 
High  School.  Havre,  Monf. 

need  not  show  in  the  projected  image.  Discussion 
will  naturally  be  freer  if  the  themes  appear  anony- 
mously, though  the  writers  of  superior  papers 
should  be  named  and  publicly  credited. 

On  theme  day  the  room  is  darkened,  the  projec- 
tor is  brought  into  place,  and  one  by  one  the  themes 
are  thrown  upon  the  screen.  The  procedure  that 
follows  may  be  varied.  One  student  may  be  called 
upon  to  criticize  from  his  seat  or  he  may  be  asked 
to  go  to  the  screen  and  point  out  the  errors  he  can 
recognize.  This  may  be  followed  by  general  class 
discussion  and  perhaps  by  some  brief  comment  by 
the  teacher.  Again,  the  themes  may  be  exchanged 
and  checked  by  the  students  before  the  room  is 
darkened.  The  errors  may  simply  be  underlined 
and  corrected.  In  the  latter  case  both  errors  and 
corrections  can  be  discussed. 

When  the  paper  has  been  examined  as  thorough- 
ly as  need  be  the  teacher  can  place  a  grade  upon  it 
before  passing  on  to  the  next.  As  a  result,  in  from 
twenty  to  thirty  minutes  of  class  time,  fifteen  to 
twenty  papers  can  be  analyzed  and  graded.  At 
least  one  half  the  teacher's  work  is  done.  Each  stu- 
dent knows  exactly  why  his  paper  has  been  given 
its  particular  evaluation,  he  has  had  the  satisfaction 
of  having  his  work  publicly  presented,  and  he  has 
profited  by  the  comments  of  the  class.  The  entire 
class,  too,  has  gained  by  participating  in  the  criti- 
cism. 

In  actual  practice  it  will  be  found  that  class  in- 
terest never  lags  and  that  criticism  will  be  volun- 
teered by  the  most  reticent.  Moreover,  so  challeng- 
ing is  the  promise  of  public  scrutiny,  that  students 
are  moved  to  extreme  care  in  preparing  their 
themes.  Frequently,  during  entire  periods,  little 
or  nothing  of  a  technical  nature  deserving  censure 
will  appear.  There  remains  only  to  enjoy  the  con- 
tent and  to  congratulate  the  writer  upon  his 
achievement. 

There  is  truly  much  of  magic  in  the  practice, 
yet  some  few  faults  must  be  conceded.  Chief  of 
these  is  the  strain  put  upon  the  eyes  if  the  reading 
is  continued  for  too  long  a  time.  In  a  well  dark- 
ened room,  careful  handwriting  in  ink  can  be  made 
clearly  legible — it  shows  up  even  better  than  av- 
erage print — but  the  clearest  image  will,  against 
the  bright  light  of  the  screen,  tire  the  eyes  in  from 
twenty  to  thirty  minutes. 

Because  of  this  time  limit,  not  all  of  the  themes 


February,  1936 


Page  43 


of  an  average-size  class  can  l)e  examined.  The 
teacher  will  still  have  from  one-third  to  one-half 
the  papers  to  correct  himself  and  that  proportion 
of  the  class  will  be  denied  the  benefit  of  public  criti- 
cism. The  loss  to  this  group  is  not  total,  of  course, 
for  they  have  shared  in  the  class  activity  and  their 
papers  can  be  examined  first  at  the  next  session. 

Of  course,  the  close  work  and  the  limitations  of 
an  opaque  projector  demand  that  all  must  he  done 
in  a  thoroughly  darkened  room.  This  is  not  an  un- 
mitigated handicap,  however.  As  has  been  said, 
some  reticent  and  shy  students  are  encouraged  to 
speak  under  the  anonymity  of  darkness.  Also,  the 
enveloping  and  contrasting  darkness  tends  to  focus 
the  attention  of  all  upon  the  lighted  screen. 

As  for  means  of  darkening  the  room,  there  are 
many.  I  find  heavy,  permanent  drapes  operated 
by  pull-cords  to  Ije  most  effective  and  most  con- 
venient. 


In  addition  to  that  of  checking  themes  there  are 
many  other  obvious  and  long-practiced  uses  for  the 
opaque  projector  in  the  English  classroom.  The 
projection  of  authors'  portraits,  of  maps,  of  illus- 
trative material  for  literature  studies  is,  of  course, 
standard.  Projecting  student-made  color-posters 
advertising  books  they  have  read  or  drawings  and 
pictures  illustrating  them  is  a  good  device  to  pub- 
licize the  reading  list.  The  making  of  posters  and 
illustrations  is  for  the  student  a  welcome  variation 
from  the  conventional  book  report.  Making  illus- 
trations for  themes  can  be  encouraged  too. 

In  all,  there  is  enough  of  magic  in  the  opaque 
projector  when  applied  to  written  composition  work 
to  make  the  machine  a  boon  to  both  students  and 
teachers.  Its  magic  releases  to  the  student  all  the 
values  inherent  in  written  composition  exercise, 
and  it,  in  a  large  measure,  sets  the  teacher  free 
from  the  weariest  of  week-end  chores. 


Ldrge-Group-lnstruction  through  the  Use 
of  Visual  Aids 


By     F.     MARSHALL     WORRELL 

Director  of  Visual   Education 
Junior  High  School,  Englewood,  N.  J. 


THE  RECENT  economic  depression  brought  many 
jjuzzling  problems  to  school  administrators,  most 
of  which  were  the  direct  result  of  an  increased  en- 
rollment and  a  decided  curtailment  of  funds  with  which 
to  build,  provide  equipment  and  hire  additional 
teachers. 

In  many  cases  the  only  solution  was  to  enlarge 
classes  to  room  capacities  and  increase  the  number  of 
teaching  periods  of  the  teacher.  With  this  added 
teaching  load,  little  time  was  left  in  the  school  day  for 
club  or  study  hall  supervision,  preparation  periods  or 
the  myriad  other  activities  requiring  teacher  partici- 
pation. 

Believing  that  this  condition  might  be  alleviated 
through  the  use  of  large-group-instruction  with  visual 
material.  Dr.  William  Kuhlman,  Principal  of  the 
Englewood  Junior  High  School,  suggested  that  I  ar- 
range such  a  program  in  Ninth  Grade  Science,  to  be 
tried  out  during  the  second  term  of  the  school  year 
1934-35. 

Two  things  facilitated  the  execution  of  this  pro- 
ject: 

(1)  A  Tvcll  organized  Visual  Aid  Department 
placed  at  my  disposal :  —  catalogs  of  leading  film  li- 
braries ;  records  of  films  previously  used  in  the  school 
showing  their  contents  and  noting  their  value  as  an 
introduction,  direct  teaching  tool  or  summary  of  a 
specific  problem ;  slide  projectors ;   16mm  and  35mm 


silent  film  projectors ;  a  16mm  sound-on-film  projec- 
tor; trained  student  operators  and  an  auditorium,  cen- 
trally located,  capable  of  seating  three  hundred  people 
within  a  reasonable  distance  from  the  stage,  equipped 
with  suitable  screen,  projection  booth  and  dark  shades. 

(2)  The  teaching  method  used  in  the  ninth  grade 
science  classes,  a  modification  of  the  Dalton  Plan  in 
which  a  series  of  "contracts"  are  used  covering  four- 
teen units,  involved  two  types  of  student  activity  — 
(a)  observing  demonstrations,  films  or  other  visual  ma- 
terial used  in  illustrating  some  fact  (b)  a  supervised 
study  period  during  which  the  student  answers  the 
questions  of  the  contract  using  facts  obtained  from  the 
observation  of  visual  material  or  the  study  of  refer- 
ence text  books  of  which  there  are  three  different 
volumes  in  each  pupil's  desk. 

Based  on  the  idea  that  films,  slides  and  most  dem- 
onstrations may  be  presented  as  effectively  to  large 
groups  as  to  small  classes,  the  Principal  scheduled  all 
ninth  grade  science  classes  to  meet  in  the  auditorium 
during  the  third  period  on  Tuesdays  and  Thursdays 
at  which  time  selected  visual  material  would  be  pre- 
sented, while  each  class  was  scheduled  to  meet,  separ- 
ately, with  the  various  science  teachers,  for  discussion 
and  supervised  study,  during  the  regular  periods  on 
Mondays,  Wednesdays  and  Fridays. 

^^'ith  this  arrangement,  the  science  teachers  had 
seven  free  periods  on  Tuesdays  and  Thursdays  which 


Page  44 


The  Educational  Screen 


could  be  used  in  preparing  for  the  large  group  in- 
struction periods,  disposing  of  materials  after  this 
period,  planning  work  for  the  next  day,  making  up 
apparatus,  study  hall  or  club  supervision  or  any  other 
assigned  duties. 

Perhaps  the  most  difficult  part  of  the  preparation 
work  yet  remained,  the  planning  of  the  activities  for 
the   large   group   instruction   period. 

It  has  always  been  my  experience  that  films  or 
slides,  shown  in  conjunction  with  the  study  of  some 
specific  problem  or  as  an  introduction  to  or  summary 
of  some  unit,  must  be  closely  correlated  with  the  class 
work  of  the  pupil  to  be  most  effective.  A  film  shown 
some  time  before  or  after  its  related  problems  loses  its 
value  because  the  pupil  is  either  studying  some  entirely 
different  unit  and  lacks  the  incentive  of  the  imme- 
diate need  of  grasping  important  facts  to  be  applied 
in  the  answering  of  some  question  or,  having  studied 
the  pertinent  unit  some  time  in  the  past,  is  more  in- 
terested in  the  present  activity  and  gives  only  indiffer- 
ent attention  to  the  belated  illustration. 

Therefore,  in  the  planning,  careful  attention  had  to 
be  given  to  the  scheduling  of  the  films  and  slides 
so  that  they  might  be  used  to  the  best  advantage.  This 
was  accomplished  as  follows — 

(a)  The  titles  of  those  films  or  slides  which  de- 
partment records  or  film  catalogs  indicated  might  be 
used  in  teaching  the  various  units  were  listed  on  a  set 
of  contract  sheets  beside  the  related  problems.  Suit- 
able demonstrations  and  pupil  activities  were  similarly 
noted.  In  many  instances  films  were  scheduled  for 
use  in  conjunction  with  demonstrations  to  picture  the 
practical  application  of  the  demonstrated  fact  or  to 
enlarge  upon  it. 

(b)  The  various  problems  were  then  scheduled  in 
my  plan  book  for  completion  on  specific  dates,  the  ac- 
companying visual  aids  being  indicated  for  use  the  pre- 
ceding or  following  large-group-instruction  period,  de- 
pending on  the  nature  of  their  contents.  (The  use  of 
these  contracts  over  a  three  year  period  enabled  me 
to  anticipate,  accurately,  the  time  required  for  the 
study  of  the  individual  problems  and,  having  used  most 
of  the  films  many  times  before,  a  reference  to  the 
card  record  made  possible  the  allocation  of  materials 
where  they  might  be  used  most  advantageously,  that  is 
— as  an  introduction,  a  direct  teaching  tool  (a  film  por- 
traying clearly  and  in  detail  important  facts  being 
studied)  or  as  a  summary. 

(c)  The  various  contributing  libraries  were  then  re- 
quested to  schedule  the  films  and  slides  for  our  use 
on  the  dates  planned.  .  We  received  very  satisfactory 
co-operation  from  these  agencies  as,  in  every  instance, 
the  material  was  shipped  in  time  for  use  on  the  dates 
designated.  Scheduling  the  material  as  least  three 
months  in  advance  made  this  possible. 

The  lesson  plans,  thus  far,  were  only  a  skeleton 
framework,  briefly  outlined  to  permit  an  over-all  pic- 
ture of  the  term's  work.  Although  the  contracts,  them- 
selves, acted  as  a  lesson  guide  for  the  pupil's  activity 


during  the  supervised  study  period,  far  more  careful 
planning  was  required  for  the  visual  aid  periods  than 
had  been  done  in  the  past  as  it  was  evident  that  with 
one  teacher  in  charge  of  a  group  numbering  from  one 
hundred  and  two  hundred  pupils  the  program  must 
proceed  without  pause  or  interruption  or  the  attention 
of  the  pupils  would  be  distracted  and  problems  of 
discipline  would  result. 

Hence,  in  preparing  for  the  large-group-instruction 
period,  this  routine  was  usually  followed : — 

(1)  A  preview  of  the  visual  material  was  given  the 
preceding  afternoon  at  which  time  the  important  facts 
illustrated  were  noted. 

(2)  If  demonstrations  or  home  made  slides  were 
needed  to  supplement,  these  were  then  prepared. 

(3)  A  plan  of  presentation  was  then  worked  out 
in  detail  and  the  time  required  for  each  part  accurately 
noted  to  insure  the  full  utilization  of  the  period. 

(4)  A  lighting  schedule  was  made  out  for  the  boys 
controlling  the  house  and  stage  lights  and  a  similar 
one  for  the  boy  operating  the  projector. 

(5)  When  the  portable  blackboard  or  some  stage 
setting  was  required  the  work  was  done  in  the  morn- 
ing before  the  classes  met. 

(6)  Even  auxiliary  material  was  provided  to  be 
used  in  case  of  a  breakdown  during  the  film  projec- 
tion. 

With  the  scheduling  of  classes  and  the  ordering  of 
material  completed  and  the  tentative  lesson  plans  estab- 
lished, the  actual  work  of  the  term  was  ready  to  begin.  On 
the  first  day  of  the  second  term  the  pupils  were  notified 
as  to  the  new  program  and  their  part  in  it.  Like  all 
new  things,  it  met  with  their  instant  approval.  Seats 
were  assigned  in  class  rooms  and  auditorium,  monitors 
appointed  to  check  attendance,  stage  assistants  re- 
cruited from  among  the  mechanically  minded  pupils 
and  the  undertaking  started  with  the  enthusiastic  co- 
operation of  all. 

It  would  be  impossible,  in  this  limited  space,  to  give 
anything  like  a  complete  summary  of  the  activity  dur- 
ing each  of  the  visual  aid  periods  but  I  shall  try,  in 
the  following  illustrations  to  give  some  idea  of  the 
many  devices  included  in  the  program. 

As  an  introduction  to  the  teaching  of  a  new  unit. 

On  Wednesday  the  final  examination  of  the  imit  on 
"Industry"  was  given  to  the  various  sections  in  their 
class  periods.  At  the  completion  of  the  examination, 
the  new  contracts  on  the  subject  "Transportation"  were 
given  out.  Special  reports  on — "The  origin  and  devel- 
opment of  the  steam  engine",  "The  history  of  the  auto- 
momobile"  and  "The  history  of  air  transportation"  were 
assigned  to  three  of  the  best  students,  to  be  given  in  the 
Thursday  large-group-instruction  period. 

A  preview  of  the  sound  film — The  Development  of 
Transportation  showed  that  this  film,  because  it  traced 
the  development  of  transportation  from  the  "pole  drag" 
to  the  airplane,,  would  be  a  fitting  introduction  to  the 
new  topic. 


'ehrnary,  1936 


Page  45 


The  following  program  was  arranged  for  the  Thurs- 
day class : 

(a)  A  brief  introductory  talk  by  the  teacher  em- 
phasizing the  importance  of  transportation  in  modern 
life. 

(b)  Showing  of  the  film. 

(c)  Reports  read  by  the  three  pupils  over  the  sound 
system  (using  a  microphone  in  conjunction  with  the 
sound  projector) 

(d)  An  essay  on  the  subject  "The  Development  of 
Transportation",  based  on  the  film  and  reports,  as- 
signed for  home  work. 

(e)  Reshowing  of  the  film. 

During  the  class  period  the  following  day,  several 
of  the  better  essays  were  read  and  discussed  before  the 
group  after  which  the  first  problem — "Early  methods 
of  transportation"  was  studied  in  the  supervised  study 
period. 

As  a  direct  teaching  tool 

Having  completed  the  study  of  static  and  galvanic 
electricity  and  magnetism,  the  classes  were  ready  to 
take  up  the  problem  of  the  dynamo.  The  following 
questions  were  included  under  this  heading : — 

(1)  List  the  essential  parts  of  a  dynamo  and  ex- 
plain the  function  of  each. 

(2)  Explain  the  changes  in  the  direction  of  the  flow 
in  alternating  current. 

(3)  What  controls  the  output  of  a  dynamo? 

(4)  What  runs  the  dynamo? 

The    silent    film    Current    Electricity    was    selected 
for  use  in  answering  these  questions. 
The  following  program  was  arranged : — 

(a)  A  general  review  of  static  and  galvanic  electri- 
city, their  advantages  and  disadvantages,  was  given  by 
the  teacher. 

(b)  A  slide  having  been  made  on  the  above  ques- 
tions, it  was  then  flashed  on  the  screen  and  the  new 
method  of  current  generation,  dynamic,  was  intro- 
duced. 

(c)  On  one  side  of  the  stage  a  table  and  blackboard 
had  been  placed.  A  simple  diagram  of  a  dynamo  wir- 
ing had  been  drawn  on  the  blackboard  and  a  large  dem- 
onstration model  of  a  dynamo  was  on  the  table,  il- 
luminated by  a  powerful  table  lamp.  The  teacher, 
using  the  diagram  and  the  model,  preceded  to  explain 
the  various  questions  as  they  appeared  on  the  screen 
(teacher  performed  demonstrations,  students  formed 
conclusions). 

(d)  Having  had  the  questions  answered  in  a  series 
of  demonstrations,  the  class  was  then  ready  to  see  the 
material  included  in  the  film.  During  the  showing  of 
the  film  the  pupils'  attention  was  called  to  scenes  il- 
lustrating what  had  just  been  studied.  Notes  were 
taken  which  were  used  the  next  day  during  the  super- 
vised study  period  to  aid  in  the  study  of  the  day's 
assignment. 

Conclusions 

Based  on  a  comparison  of  test  grades  over  a  three 


year  period,  the  use  of  the  large-group-instruction  per- 
iod resulted  in  an  average  pupil  attainment  equal  to  or 
better  than  averages  of  preceding  classes.  In  addition,  it 
exerted  a  positive  influence  on  the  morale  of  the  pupils 
as  was  shown  by  their  subsequent  improvement  in  con- 
duct during  assembly  periods  or  other  group  gather- 
ings. Within  a  very  short  time  the  classroom  pictures 
ceased  to  be  looked  on  as  an  entertainment  but  were 
accepted  as  a  vital  and  necessary  tool  of  learning.  This 
attitude  carried  over  into  other  classes  where  films  were 
used. 

I  can  best  summarize  the  results  of  this  experiment 
by  quoting  the  viewpoints  expressed  by  the  pupils, 
teachers  and  administration — 

The  pupils  liked  this  type  program  because  the  more 
careful  planning  and  wider  use  of  visual  materials  re- 
sulted in  a  more  interesting  and  instructive  period. 

The  teachers  favored  the  idea  because : 

(a)  All  their  effort  might  be  centered  on  the  execut- 
ing of  one  superior  demonstration,  or  visual,  period, 
rather  than  repeating  the  same  presentation  from  five 
to  seven  times. 

(b)  The  demands  made  on  their  ingenuity  by  this 
type  program  stimulated  their  interest. 

(c)  The  scheduling  of  classes  allowed  them  more 
time  for  preparation,  etc. 

The  administration  considered  it  successful  because : 

(a)  Fewer  teachers  were  required  to  handle  the  in- 
creased enrollment. 

(b)  Although  the  actual  teaching  load  was  increased, 
teachers  had  more  periods  available  for  preparation 
work  or  non-teaching  assignments. 

(c)  New  interest  was  stimulated  in  the  teaching 
staff  and  better  teaching  methods  were  devised. 

(d)  Savings  in  the  cost  of  equipment  were  effected 
as,  in  most  cases,  only  one  set  of  apparatus  was  re- 
quired while,  heretofore,  each  teacher  must  be  provided 
with  material. 

(e)  Only  the  auditorium  required  dark  shades  and 
a  screen  while  before  several  rooms  must  be  so  equip- 
ped or  else  the  passing  of  classes  to  the  auditorium  at 
all  times  of  the  day  created  confusion  and  noise  in  the 
halls. 

(f)  The  cost  of  film  rentals  was  reduced  as  now 
only  one  day  was  required  for  showing  the  films  where 
before,  due  to  a  shortage  of  projectors,  rooms  suitably 
equipped,  etc.,  often  two  or  three  days  were  required. 

(g)  The  cost  of  maintaining  duplicate  projection 
equipment  was  reduced,  as  now  one  good  16mm  sound- 
on-film  projector  (capable  of  showing  silent  films, 
also),  a  35mm  silent  projector  and  a  slide  projector 
were  sufficient  to  care  for  all  needs. 

A  similar  program  was  subsequently  worked  out  for 
the  teaching  of  Geography  and  proved  equally  effective. 
Plans  are  being  made  at  this  time  to  incorporate  the 
idea  in  history  and  music  appreciation  classes.  Only 
the  lack  of  suitable  classroom  films  limits  the  possi- 
bilities of  a  more  wide  spread  use  of  large-group-in- 
struction with  visual  material. 


Page  46 


The  Educational  Screen 


Why  d  Department  of  Visual  Education? 


By      D.      C.      THORNTON 

Supervisor   of   Visual    Education 
Public  Schools,  York,  Neb. 


IT  HAS  recently  come  to  my  attention  that  an  "au- 
thority"' on  educational  matters  in  a  university  has 
said,  "Why  have  a  department  of  Visual  Education  ? 
Why  have  it  under  a  director?  Isn't  visual  education 
just  part  of  the  general  process  of  teaching  carried  on 
each  day  by  the  teacher  herself  in  the  classroom?" 

It  is  evident  from  these  remarks  that  the  professor 
of  higher  learning  has  failed  to  recognize  the  present 
day  meaning  of  visual  education  and  its  importance. 
Of  course  many  visual  aids  have  been  used  extensively 
for  a  long  time,  but  the  use  of  these  has  been  steadily 
growing  for  the  last  twenty  or  thirty  years.  Especially 
in  the  last  three  or  four  years  has  there  been  an  in- 
crease in  the  number  of  kinds  of  visual  aids  and  grow- 
ing appreciation  of  their  value.  No  longer  is  the 
teacher  using  only  the  pictures  in  text  books  augmented 
by  a  few  magazine  covers.  Pictures  projected  on  a 
screen,  by  slides  or  film  strips,  the  motion  picture  and 
the  "sound"  projector  have  come  into  ever  increasing 
use.  It  seems  that  this  professor  is  still  in  the  dark 
as  to  the  most  recent  developments  in  the  use  of  the 
more  modern  visual  aids  and  the  organization  necessary 
for  their  eflfective  use.  Surely,  however,  he  is  aware 
of  the  value  of  the  proper  i:se  of  visual  devices  and 
therefore  it  should  suffice  to  remind  him  that  in  this 
state  alone,  Nebraska,  there  are  over  four  hundred 
schools  using;  motion  picture  machines,  silent  and 
sound,  the  most  recent  of  visual  aids. 

Why  is  there  need  of  a  department  and  a  super- 
visor? The  purpose  in  having  a  supervisor  of  visual 
education  is  the  same  as  that  for  any  other  department. 
That  purpose  is  to  make  easier  the  learning  process 
through  improvement  of  the  teaching  procedures  and 
perhaps  in  no  department  is  a  supervisor  more  needed 
for  such  a  purpose. 

Very  few  institutions  of  higher  learning  offer 
courses  of  instruction  in  the  effective  use  of  visual 
aids.  Only  one  state  in  the  union  (Pennsylvania) 
makes  it  comj)ulsory  for  every  teacher  to  have  a  course 
in  Visual  Education,  although  the  National  Education 
Association  has  advised  that  states  require  such  train- 
ing. The  average  teacher  is  still  in  the  dark  so  far  as 
visual  aids  are  concerned  and  because  of  inertia,  and  a 
very  human  willingness  to  let  well  enough  alone,  is  con- 
tent to  remain  still  in  the  dark.  In  such  a  case  visual 
education  is  a  miserable  failure.  There  probably  is 
no  other  place  where  there  can  be  such  an  abuse  in  the 
use  of  educational  aids. 

We  can  expect  little  progress  until  teachers  have  be- 
come convinced  of  the  value  of  these  aids,  have  some 
knowledge  of  the  best  methods  for  their  use  and  have 


some  standards  by  which  to  measure  their  effectiveness. 
A  supervisor  may  do  much  to  bring  this  about.  He 
can  devote  his  time  to  studying  the  general  and  specific 
problems  of  the  department ;  carry  on  research  work- 
to  measure  effectiveness ;  organize  materials ;  try  out 
procedures  or  techniques;  keep  informed  as  to  the 
subject  matter  being  taught  and  suggest  visual  aids 
for  that  particular  unit  of  work ;  and  see  that  effec- 
tiveness is  attained  in  their  use.  Many  if  not  all 
teachers  can  be  improved  by  an  intelligent  director  of 
visual  education.  The  director  may  aid  in  planning 
special  programs  for  the  entire  school  and  work  in 
harmony  with  the  art  department  and  other  depart- 
ments throughout  the  system  with  the  use  of  visual 
aids.  He  may  also  work  with  churches  and  clubs  in 
using  films  for  teaching  character  and  health. 

The  necessity  for  a  central  department  is  very  ap- 
parent when  we  consider  the  organization  of  such  a 
department.  There  nuist  be  a  central  source  of  visual 
materials.  If  it  is  necessary  to  rent  still  films,  slides, 
and  moving  picture  films,  these  must  be  ordered  from 
a  commercial  house  or  University.  It  is  practical  that 
they  be  ordered  for  a  year  in  advance.  Teachers  must 
have  film  catalogs  from  the  library  in  which  the  order 
is  to  be  placed.  Their  orders  must  be  made  up  and 
dated  to  conform  to  the  dates  when  they  are  studying 
the  ])articular  unit  of  work.  The  director  must  meet 
with  these  teachers,  usually  meeting  in  groups  all 
teachers  of  the  same  grade  or  subject.  These  orders 
must  be  coordinated  and  integrated  so  that  there  are  no 
unnecessary  duplications.  Finally  the  orders  from  all 
the  teachers  throughout  the  system  must  be  arranged 
on  one  large  order  and  again  be  coordinated  for  the  en- 
tire system.  If  the  school  can  afford  to  buy  the  films 
and  slides  there  must  be  not  only  storage  facilities  but 
a  special  laboratory  for  filing,  mending,  and  checking. 
Orders  must  be  taken  and  records  kept.  The  visual 
aids  must  be  catalogued  as  well  as  the  syllabi  or  teach- 
ers' aids  that  accompany  them.  High  school  boys  must 
be  trained  in  the  operation  and  care  of  the  machine,  as 
better  results  will  be  obtained  if  the  teacher  is  free  to 
devote  her  attention  to  the  class  and  the  picture.  Pic- 
tures should  be  evaluated  and  these  evaluations  filed  so 
that  pictures  of  little  teaching  value  will  not  be  re- 
ordered another  term. 

The  value  derivable  from  an  intelligent  use  of  visual 
aids  warrants  the  organization  of  such  a  department 
and  the  instruction  with  such  aids  will  be  greatly  im- 
proved by  a  systematic  organization,  under  a  qualified 
supervisor  who  enlists  and  encourages  the  instructional 
staff  in  this  old  but  newest  venture. 


'ehruary,  19}  6 


Page  47 


Among  the  Magazines  and  Books 


The  Elementary  School  Journal  (January,  '36) 
["'Pictures  in  Geograph}-  Textbooks,"  l)y  Irving  K. 
lello  and  Ivan  R.  Waterman. 

Helpful  facts  concerning  the  content  of  geog- 
raphy text  pictures  and  their  correlation  with  the 
reading  matter  is  brought  forward.  Four  extensive 
tables  are  inserted,  showing  the  findings  from  the 
•malysis  of  eight  leading  single-cycle  geography 
Series.  From  the  fourth  to  the  sixth  grades,  the 
trend  is  toward  a  decline  in  natural  pictures  and 
in  increase  in  cultural  pictures.  However,  in  the 
seventh  grade,  the  percentage  of  natural  pictures 
|s  almost  double  tliat  of  the  sixth  grade.  On  the 
idiole,  there  is  no  uniformity  of  practice  among  the 
Series  studied.  Approximately,  one-tenth  of  all  pic- 
tures depict  natural  phenomena,  and  almost  one- 
half  depict  cultural  phenomena. 

The  imj)ortance  of  authentic  records  indicating 
where  and  when  a  picture  was  taken  is  emphasized. 
"From  an  educational  point  of  view  an  out-of-date 
picture  can  misinform  the  pupils  as  well  as  old  or 
faulty  text  material."  All  of  the  books  exam- 
ined had  some  definitely  out-of-date  pictures. 
To  be  sure  some  subjects  do  not  need  to  be  re- 
placed l)y  later  photographic  material.  A  ten-year 
old  picture  of  Mt.  McKinley  or  of  a  zebra  is  prob- 
ably as  satisfactory  as  a  recent  one. 

From  one-fifth  to  one-fourth  of  all  geography  text 
material  is  pictorial.  Many  of  these  illustrations 
are  of  questionable  educational  value  in  terms  of  the 
basic  geographic  concepts  to  be  taught  in  the  grade 
where  the  pictures  were  introduced.  "Many  of  the 
pictures  in  each  book  are  concerned  with  geographic 
relationships  that  are  relatively  insignificant  phases 
of  the  total  adjustment  made  by  people  to  their 
physical  environment  in  the  region  with  which  the 
])ictures  deal."  Some  pictures  in  each  textbook  are 
illegible  and  unattractive.  Definite  standards  for  pic- 
tures in  geography  are  lacking,  hence  conclusions 
should  be  drawn  with  care.  A  number  of  research 
problems  are  suggested. 

Journal  of  the  Society  of  Motion  Picture  Engi- 
neers (January,  '36)  "The  Development  and  Use 
of  Stereo  Photography  for  Educational  Purposes," 
by  C.  Kennedy. 

A  report  is  made  of  a  study  pursued  at  the  in- 
stance of  the  Carnegie  Corporation.  Since  the  earl- 
iest days  of  jihotography,  there  has  been  an  intense 
interest  in  reproducing  the  effect  of  the  third  di- 
mension, but  little  has  been  accomplished  to  place 
it  on  a  broad  educational  foundation.  "One  of  the 
most  amazing  of  human  faculties  is  the  ability  of 
the  mind  to  unite  the  flat  images  upon  the  left  and 
the  right  retinas  into  a  three-dimensional  composite 


Conducted  by  STELLA  EVELYN  MYERS 


that  seems  to  have  existence  in  space."  The  ini- 
social  character  of  practical  stereo  viewing  has 
seemed  to  be  one  of  the  chief  deterrents  in  its  use. 
So,  the  field  for  the  present  experiment  was  chosen 
to  apply  to  a  critical  angle  of  view  using  the  paral- 
lax stereoscope,  and  the  use  of  anaglyphs.  In  the 
latter  field,  the  method  of  using  two-color  printing 
was  ruled  out  as  not  being  feasible  with  color  pho- 
tography. The  sheet  polarizer  was  adopted,  which 
makes  possible  the  differentiation  of  the  images  for 
the  right  and  the  left  eye  by  polarized  light. 

The  author  says  that  what  has  been  learned  ap- 
plies equally  well  to  motion  pictures.  Stereo  is  not 
synonymous  with  third  dimension.  The  efl^ect  of 
depth  even  in  a  single  object  upon  the  screen  may 
be  obtained  by  overlap,  the  shape  of  contours,  the 
shape  and  position  of  reflections,  light,  shade,  at- 
mospheric effects,  depth  of  focus,  and  the  relative 
api)arent  movements  of  objects  when  they  or  the 
camera  is  in  motion.  Retinal  disparity  in  getting 
reflected  light  from  the  images  is  the  cause  of  sheen 
or  luster.  Bronze  objects  appear  so  that  it  is  evi- 
dent that  the  surface  has  been  waxed.  "It  follows 
that,  even  when  we  succeed  in  obtaining  films  that 
will  truthfully  reproduce  the  colors  of  nature,  they 
will  not  seem  true  until  we  add  binocular  vision. 
.  .  .  The  future  of  stereo  in  the  educational  field  is 
clear,  then.  It  will  be  invaluable  wherever  accurate 
reproduction  of  the  visual  image  is  an  axiomatic 
need.  Furthermore,  in  this  educational  program 
the  motion  picture  will  have  an  undeniable  place." 

Intercine  (November,  '35)  "Notes  on  Pabst,"  by 
Alberto  Mondadori. 

In  his  productions,  Pabst  uses  the  environment 
to  interpret  the  characters.  All  static  things  have 
something  dynamic  within  them.  People  are  large- 
ly determined  by  their  country  and  their  environ- 
ment. In  order  to  indicate  the  essential  elements 
of  the  surroundings,  only  the  simplest  lines  of  the 
landscape  are  portrayed.  The  desert  becomes  in- 
timately humanized,  the  mine  lives  in  drama  and 
destruction,  "and  in  the  shock  of  two  humanities  in 
opposition.  The  mountain  tragically  immutable, 
lives  and  breathes  in  tempest  and  hurricane."  Eis- 
enstein  is  probabl}'  the  only  one  who  has  succeeded 
in  approaching  Pabst.  There  is  evident  in  Pabst, 
"the  torment  and  tragic  conflict  of  the  man  who  is 
in  perpetual  strife  with  his  environment,  who  is 
facing  the  eternal  problem  of  man's  struggles 
against  events  and  against  nature."  The  treatise 
is  a  most  interesting  psychological  study. 


Page  48 


The  Educational  Screen 


The  Film  Estimates 


Bride  Comes  Home  (Colbert.  McMurray. 
Young)  (Para.)  Tawdry  stuff,  with  feeble  dia- 
log and  stale  humor,  about  hero  and  heroine 
that  fight  loud  and  long,  but  are  in  love,  and 
wrangling  ends  in  burlesque  marriajge  cere- 
mony. Fine  example  of  bad  taste  in  theme 
and  good  cast  wasted.  1-14-36 

(A)  Cheap  (Y)  Undesirable  (C)  No 

Captain  Blood  (Errol  Flynn,  Olivia  de  Havi- 
land)  (Warner)  Gripping  sea-melodrama  ot 
17th  century  England,  packed  with  fights,  grim 
cruelties,  and  a  thrilling  romance.  Flynn  not- 
able as  dauntless  hero  who  is  doctor,  slave, 
pirate,  and  finally  Governor.  Strong,  vibrant, 
convincing  picture.  1-14-36 

(A)  Excellent    (Y)  Fine  thriller    (C)  Too  strong 

Case  of  the  Missing  Man  (Roger  Pryor) 
(Columbia)  Unpretentious  story  of_  newspaper 
photographer  trying  to  build  a  business  of  his 
own.  His  accidental  snap  of  crook  leaving 
scene  of  robbery  brings  startling  developments. 
Entertaining  little  thriller,  not  exaggerated  or 
overdone.  1-2 1-36 

(A)  Fair  (Y)  Good  (C)  Good  thrillei 

Dangerous  ( Bttie  Davis,  Franchot  Tone) 
(Warner)  Supposedly  supreme  actress,  pursued 
by  supposed  "jinx",  becomes  tough,  gin-soaked 
female  bawling  billingsgate,  until  restored 
from  gutter  to  stage  by  fine  wealthy  hero, 
who  nearly  falls  before  her  terrific  sex  ap- 
peal. Loud  theatrics.  1-28-36 
(A)  Dep.  on  taste       (Y)  Unwholesome       (C)  No 

Escape  from  Devil's  Island  (Victor  Jory, 
Florence  Rice)  (Columbia)  Prison-thriller,  quite 
authentic  as  picture  of  life  and  sufferings  in 
famous  penal  colony,  but  the  artificial  story 
labors  under  uneven  tempo,  clumsy  plot,  and 
obvious   absurdities    in   action    and   motivation. 

1-21-36 
(A)  Hardly  (Y)  Not  good  (C)  No 

First  a  Girl  (Jessie  Matthews)  (G-B)  Typical 
English  musical  comedy  with  sprightly  plot, 
pleasant  music,  skillful  dancing.  Girl  masquer- 
ades as  boy  impersonating  girl.  Complications 
when  she  falls  in  love  and  disguise  is  dis- 
covered. Some  unconventional  scenes  but  not 
suggestive.  2-3-36 

(A)  Good  of  kind      (Y)  Fair      (C)  Little  interest 

'Frisco  Waterfront  (Ben  Lyon,  Helen  Twelve- 
trees)  (Republic)  Artificial  hokum  with  absurd 
plot,  trying  to  make  triangle  love  affair  inter- 
esting by  fists,  waterfront  English,  a  dreary 
cutback  to  Great  War,  mediocre  acting  and 
maudlin  conclusion.  One  role  is  utterly  pain- 
ful in  its  futility.  2-3-36 
(A)  Stupid                  (Y)  No  value                  (C)  No 

Heaven  on  Earth  (Himmel  auf  Erden)  (Ger- 
man production  and  cast)  Finely  acted,  hi- 
larious German  musical  farce,  achieving  much 
fun  from  old  situation  of  married  heroine 
mistaken  by  rich  aunt  as  wife  of  another  man. 
No  English  titles.  Understanding  of  Germ"" 
essential  for  real  enjoyment.  1-21-36 

(A)  Good  of  kind  (Y)  No  int.  (C)  No  int. 

Hi  Gaucho  (John  Carroll,  Steffi  Duna>(RKOi 
Clumsy  telling  of  slow-moving  romance  in  th'' 
Argentine.  Fiance'  from  Spain,  gay  villain 
rival,  but  native-bom  hero  finally  wins  hero- 
ine. Acting  mediocre  though  cast  includes 
Rod  La  Roque  and  Montagu  Love.  Dull  melo- 
drama in  colorful  costumes.  1-21-36 
(A)  Mediocre     (Y)  Perhaps      (C)  Little  interest 

If  Yon  Could  Only  Cook  (Herbert  Marshall. 
Jean  Arthur)  (Columbia)  Lightsome,  pleas- 
ing remodeling  of  poor-girl-rich -man  theme, 
delightfully  combining  whimsy,  humor  and 
suspense.  Hero,  heroine  and  jovial  racketeer 
agreeably  involved  in  deftly  acted  romance, 
smoothly  directed.  1-21-36 

(A)  Pleasing  (Y)  Very  good  (C)  Good 

King  of  Burlesque  (Warner  Baxter.  Alice 
Faye)  (Fox)  Smart,  crude  producer  grows  rich 
on  cheap  burlesque,  marries  into  "400".  goes 
broke.  So  his  former  blonde  chorine  finances 
and  marries  him.  Lively,  laughable  in  spots, 
but  far-fetched  and  false.  A  sad  miscasting 
for  Warner  Baxter.  2-3-36 

(A)  Little  value  (Y)  Perhaps  (C)  No 

Le  Dernier  Milliardaire  (Rene  Clair  produc- 
tion) (Gaumont-Franco)  Thoroughly  continental 
comedy  about  financial  and  romantic  problems 
of  mythical  kingdom's  government.  Amiable 
satire  of  miscellaneous  bankrupt,  scheming  hu- 
mans exnertlv  done  and  well  acted.  French 
d'alo**.  English  titT'^s.  2-3-36 

(A)  Good  of  kind   (Y)  Perhaps   (C)  Beyond  them 

La  Maternelle  (French  production)  CMetron- 
olis)   Artistic  masterpiece  portraying  chiM  life 


Being  the  Combined  Judgments  of  a  National  Committee  on  Current  Theatrical   Films 

(The  Film   Estimates,  in  whole  or  in  part,  may  be  reprinted 

only  by  special   arrangement  with  The   Educational   Screen) 

Date    of    mailing    on    weekly    service    is    shown    on    each    film, 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 


in  welfare  school  in  Paris  slums,  with  adult 
problems  intimately  interwoven.  Delightful 
character  comedy,  superb  acting  and  direc- 
tion. English  titles.  Motion  picture  art  as 
it  can  be.  1-28-36 

(A)  Excellent       (Y)  Mature       (C)  Beyond  them 

Magnificent  Obsession  (Irene  Dunne,  Robt. 
Taylor)  (Univ.)  Brazen,  disagreeable  wastrel 
makes  gruesome  start  for  what  develops  into  a 
powerful,  appealing  romance  and  deep  love  and 
devotion.  Splendidly  played.  Drunken  egocentric 
of  start  is  a  bit  too  crass  to  become  so  noble, 
but  finely  enough  done  to  convince.  l-14-3*> 

(A)  Notable         (Y)  Mature        (C)  Beyond  them 

Millions  in  the  Air  (Wendy  Barrie,  John 
Howard)  (Para.)  Tiresome,  slow-moving  story 
of  "amateur  hour".  Too  many  acts  clutter 
and  obscure  slender  little  romance  of  young 
ice  cream-vendor-saxophonist  and  millionaire 
sponsor's  daughter,  ambitious  to  succeed  by 
her  voice  alone.  Amusing  in  spots.  1-28-36 
(A)  Only  fair  (Y)  Perhaps  good  (C)  No  interest 

$1000  a  Minute  (Roger  Pryor,  Leila  Hyams) 

(Republic)  Meant  to  be  fast,  hilarious  farce- 
comedy  but  too  artificial  in  plot,  crude  in 
comedy,  clumsy  in  narrative,  uneven  in  in- 
terest, jerky  in  tempo,  improbable  in  situa- 
tion, and  too  feebly  acted  to  be  worth  much 
to  anybody.  1-14-36 

(A)Mediocre  (Y)  Better  not  (C)  No 

Miss    Pacific    Fleet     ( Blondell    and    Farrell ) 

(Warner)  Fast,  rowdy  farce  about  efforts  of 
two  slangy,  stranded  chorus-girls  to  raise  fare 
back  to  Broadway.  Abounds  in  wisecracks  an'l 
uncouth  comedy  antics,  with  beauty  contest, 
preposterous  prizefight,  and  wild  speed-boat 
chase  as  features.  1-14-36 

(A)  Silly  (Y)  Poor  (C)  No 

Mister  Hobo  (George  Arliss)  (G-Bl  Improb- 
able but  interesting  story  of  lovable  tramp 
made  bank  president  by  scheming  swindlers. 
His  heritage  of  financial  ability  enables  him 
to  solve  crisis  and  save  heroine's  happiness, 
when  he  resumes  tramping.  Delightful  Ar- 
liss role,  free  of  mannerisms,  1-21-36 
(A)  Very  good            (Y)  Excellent            (C)  Good 

Murder  of  Dr.  Harrigan  (Ricardo  Cortez. 
Mary  Astor)  (Warner)  Rather  monotonous  and 
clumsy  mystery,  which  seems  quickly  and  none 
too  carefully  thrown  together,  with  hospitals, 
doctors  and  nurses  coming  in  for  much  unjusti- 
fied burlesquing  in  feeljle  attempt  to  draw 
humor  from  a  tragedy.  2-3-36 

(A)  Cheap  (Y)  Mediocre  (C)  No 

Navy  Wife  (Claire  Trevor,  Ralph  Bellamy) 
(Fox)  Hero,  navy  officer,  assigned  to  secret 
service  duty,  is  required  to  make  love  to  fe- 
male spy.  His  wife  suffers  near  heart-break 
and  suspicion  of  triangle  affair.  Happy  end- 
ing. Plot  too  obvious  for  much  value  but 
acting  good.  2-3-36 

(A)  Perhaps    (Y)  Little  value    fC)  Little  interest 

Nevada  (Buster  Crabbe,  Kathleen  Burke> 
(Para.)  Hero,  suspect  because  of  his  rather 
shady  record,  finally  wins  ranch-owner's  confi- 
dence, saves  them  from  cattle-rustlers  anr' 
wins  the  girl.  Usual  shooting,  hard  riding  anH 
fine  scenery.  Harmless  thriller  with  very  ordi- 
nary acting.  1-14-36 
(A)  Mediocre                  (Y)  Fair                  (C)  Fair 

Next  Time  We  Love  (Margaret  Sullavan) 
(Univ)  Wistful,  human,  at  times  poignant 
story  of  loyal  young  love  suffering  from  force 
of  circumstances.  Fine-grained,  restrained, 
convincing  portrayal  of  three  intelligent  hu- 
mans deeply  in  love.  Flaws  minor  beside 
merits.     Sullavan  notably  fine.  2-3-36 

(A)  Excellent    (Y)  Very  good    (C)  Beyond  them 

A  Night  at  the  ODera(Marx  Brothers)  (MGM) 
Crass,  crazy  slap.<5tick  built  on  ghastly  bur- 
lesque of  opera.  Vacuous  hilarity,  low  comedy 
without  wit.  more  ridiculous  than  funny.  The 
Marx  still  think  that  raucousness.  boorishnesp. 
vulgaritv  and  absurdity  make  "comedy."  AbunH- 
ant  guffaws  for  guffaw-addicts.  1-21-36 

(A)  Dep.  on  taste       (Y-C)  Decidedly  not  the  best 

The  Perfect  Gentleman  fFrankMorganUMGM) 
Whimsv  and  burlesque,  in  quita  "English"  style, 
with  Morgan  reveling  in  role  of  ne'er-do-well 
father  of  young  English  churchman,  and  com- 
mitting his  faux  pas  always  like  a  gentleman. 


Exaggerated,  improbable,  but  amiably  amusing 
character  sketch.  2-3-36 

(A)  Rather  amusing       (Y)  Amusing       (C)  Fair 

Personal  Maid's  Secret  (Ruth  Donnelley,  Anita 
Louise)  (Warner)  Deft,  breezy  character  com- 
edy, pleasantly  entertaining,  smoothly  told  and 
acted.  Old  theme— mother  surrenders  daughter 
to  wealthy  home  "for  her  good" — but  reveals 
herself  to  give  danger  signal.  Girl  is  playing 
around  casually  with  married  man.  1-14-36 

(  A )  Rather  good         (Y)  Not  the  best         (C)  No 

Riff-Raff  (Jean  Harlow,  Spencer  Tracy) 
(MGM)  Tough,  squalid  waterfront  life  cheaply 
theatricalized  with  crude  characters,  benighted 
English  and  maudlin  sentiment.  Blatant 
hero's  brazen  conceit,  and  heroine's  raucous 
commonness,  get  monotonous  and  even  pain- 
ful. Title  perfect.  1-28-36 
(A)  Cheap              (Y)  Unwholesome  (C)  No 

Seven  Keys  to  Baldpate  (Gene  Raymond,  M. 
Callahan)  (RKO)  Disappointing  screening  of  fam- 
ous old  stage-play  about  author  retiring  to  remote 
mountain  inn  to  write  play,  and  becoming  involved 
in  mysterious  and  exciting  happenings.  Undis- 
tinguished acting,  without  sparkle,  and  changed 
denouement  dull.  Lacks  original  "punch".  1-7-36 
(A)  Disappointing    (Y)  Prob.  gd.    (C)  Prob.  gd. 

Stars  Over  Broadway  (Pat  O'Brien,  James 
Melton,  Jean  Muir)  (Warner)  Musical  play,  too 
long,  about  misdirected  ambition  of  manager 
and  protege,  rising  from  Tin-Pan-Alley  to  ra- 
dio prosperity  and  shipwreck.  Eyes  opened  at 
last,  they  rise  higher.  Comedy  incessant  but 
feeble.     Melton  good.  1-28-36 

(A)  Thin  (Y)  Fair  (C)  Little  interest 

Strike  Me  Pink  (Eddie  Cantor)  (UA)  Fast, 
hilarious,  non-vulgar  farce  with  typical  Can- 
tor gag-and-pantomime,  and  crazy  nerve-wrack- 
ing "chase"  for  climax.  Labored  absurdities, 
would-be  music,  doggerel  dialog.  Excellent 
for  those  who  like  artificial  concoction  of  non- 
intelligent  comedy.  1-28-36 
(A)Dep.ontaste  (Y)Gd.ofkd.  (C)Unlesstooexc. 

Suicide  Squad  (Norman  Foster)  (Puritan* 
Well-intentioned  attempt  to  glorify  heroism  of 
a  fire-fighting  system's  Rescue  Squad,  used 
for  most  dangerous  assignments.  But  stupid 
story,  crude  direction,  mediocre  acting  and 
dull  dialog  make  the  total  result  painfully 
amateurish.  l-21-3f5 

(A)  Worthless  (Y)  Poor  (C)  No 

Spanish  Cape  Mystery  (Helen  Twelvetrees, 
Donald  Cook)  (Republic)  Another  wise-cracking 
:ietective  breezes  through  series  of  kidnapping.s 
and  inheritance  murders  in  lonely,  sea-girt 
mansion.  Suspicion  carefully  turned  on  every- 
one in  succession,  until  hero  solves  all  and 
wins  girl  (hence,  romantic  interest).  1-7-36 
(A)  Mediocre  (Y)  Perhaps  (C)  No 

Sweet  Surrender  (Frank  Parker,  Tamara) 
(Univ.)  Meaningless  conglomeration  of  radio 
broadcasting,  transatlantic  voyage  on  Norman- 
die,  mistaken  identity,  fostered  and  further  com- 
plicated by  pair  of  crooks,  peace  propaganda, 
and  Paris  wind-up.  Parker  in  usual  voice,  but 
all  the  acting  far  below  par,  1-14-36 

(A)  Waste  of  time  (Y)  Poor  (C)  No 

Tale  of  Two  Cities  (Ronald  Colman  and  fine 
cast)  (MGM)  Notable  filming  of  major  action  of 
Dickens  novel  against  vivid,  lurid  background. 
Temper  and  times  of  French  Revolution  made 
unforgettable,  with  human  drama  finely  em- 
phasized. Too  melodramatic  for  some,  but  ex- 
cellences make  it  outstanding.  1-28-36 
(A-Y)  Excellent    (C)  Gd.  but  exceed,  str.  in  spots 

Two  in  the  Dark  (Margot  Grahame,  Walter 
Abel)  (RKO)  Excellent  mystery  story,  intelli- 
gently written,  deftly  played,  combining  keen 
character  interest  with  suspenseful,  impenetra- 
ble plot.  Comedy  and  thrill,  fast  tempo  and 
suspense,  nicely  blended,  without  resort  to 
hokum.      Skillful   entertainment.  1-28-36 

(A-Y)Excellent     (C)  Perhaps  too  involved  to  int. 

Whipsaw  (Myrna  Loy,  Spencer  Tracy)  (MGM) 
Intensely  interesting  and  clever  story  of  crooked 
heroine  caught  between  jewel  thieves  and  a  de- 
tective. Situations  more  plausible,  direction  more 
competent,  ending  more  convincing  than  usual 
in  such  pictures.  Humor,  pathos,  well-managed 
suspense  make  real  entertainment.  1-7-36 

(A)Fineofkd.    (Y)Finethriller    (C)Not  for  them 


ebruary,  1936 


Page  49 


The  Church  Field 


Conducted  by  MARY  BEATTIE  BRADY 

Director,    Harmon    Foundation,    New   York   City 


A  Young  People's  Church  With  Motion  Pictures 


THE  VALUE  of  the  motion  picture  projector  as  the 
visual  part  of  a  church  program  has  been  ably  illus- 
trated by  the  work  of  Rev.  Robert  Y.  Johnson,  Pastor 
of  the  Elm  Street  Congregational  Church,  Southbridge, 
Massachusetts. 

During  1935,  at  his  former  charge  at  Lynn,  Massa- 
chusetts, Mr.  Johnson  organized  a  Young  People's 
church  for  children  between  the  ages  of  nine  and  six- 
teen. It  met  for  an  hour  on  Sunday  evening,  and  the 
service  was  built  around  a  motion  picture.  About 
twenty  minutes  of  the  hour  was  devoted  to  worship, 
singing  and  a  brief  talk  by  the  Pastor.  The  children 
themselves  read  the  scripture,  offered  the  prayer,  read 
the  Responsive  Readings,  and  announced  the  hymns. 
The  boys  took  turns  operating  the  projector. 

The  service  was  held  in  the  main  auditorium.  Be- 
fore the  screen  the  cross  and  an  open  Bible  were  placed. 
Special  music  was  rendered  by  a  junior  choir.  The 
theme  for  these  services  concerned  world  friendship. 
The  subject  for  the  year  was  a  Friendship  Tour  around 
the  world.  The  program  included  the  following  sub- 
jects : 

Girdling  the  Globe  in  the  Graf  Zeppelin 

Men  in  the  Making;  A  Boy  Scout  Troop  Visits  Wash- 
ington, D.  C. 

Arizona  and  the  Grand  Canyon  of  Yellowstone. 

Cruising  to  Alaska. 

Inland  Sea  :    The  Land  and  People  of  Japan. 

China's  Home   Life  and  How  China  Makes  a  Living. 

China's  Children.     Mr.  Chang  Takes  a  Chance  (Medi- 
cal Missions) 

The  Word  of  God  in  India. 

The  Night  Before  Christmas  (Christmas  Program) 

Forest  People  of  Central  Africa. 

Medical  Missions  in  Africa. 

Through  the  Lands  of  Italy,  Hungary,  the  Danube  and 
Rumania. 

Children  of  the  Balkans. 

A  Vintager's  Festival  in  Germany. 

Peasant  Wedding  in  Hessan. 

Winter  Sports   in   Switzerland. 

Apple  Blossom  Time  in  Normandv. 

Little  Dutch  Tulip  Girl. 

A  Tour  of  Sweden. 

Wee  Scotch  Piper. 

A  Tour  Through  Brazil. 

Head  Hunters  of  Ecuador. 

A  Visit  to  Porto  Rico. 

The    Birds    of    Bonaventure    (Famous    Canadian    Bird 
Sanctuary) 

The  Land  of  Evangeline,  Nova  Scotia. 

Where  Winter  Sport  is  King  (Picturesque  Quebec) 

Leaves  from  a  Ranger's  Notebook  (Canadian  Rockies) 

Home  Again  :   A  Visit  to  the  World's  Fair  in  Chicago. 


In  describing  the  details  of  his  services,  Mr.  John- 
son emphasizes  that  he  began  his  work  because  of  his 
conviction  that  Christian  Education  must  stress  more 
and  more  training  in  the  art  of  worship.     He  says : 

"It  is  also  my  belief  that  the  communication  of  re- 
ligious truth  must  be  made  vivid  and  interesting  and 
that  it  must  deal  with  life  in  all  its  aspects.  At  first 
there  was  some  doubt  in  my  mind  as  to  whether  wor- 
ship in  the  traditional  sense,  and  visual  education  in 
the  modern  sense,  would  mix.  Experience  has  shown 
me,  however,  that  my  doubt  arose  from  a  fear  of  nov- 
elty rather  than  from  psychological  actualities.  Of 
course  when  one  is  dealing  with  a  group  of  normal 
children  he  does  not  look  for  the  perfect  decorum  of 
the  trained  churchman.  For  example,  one  must  not 
allow  his  religious  sensibilities  to  be  shocked  by  an 
occasional  burst  of  laughter  during  the  picture,  and 
one  must  put  away  forever,  the  idea  that  sacredness 
is  equivalent  to  solemnity.  Our  Young  People's  church 
service  is  somewhat  more  relaxed  than  the  more  formal 
morning  service,  but  it  is  not  therefore  lacking  in  rev- 
erence and  reality.  Indeed,  I  sometimes  feel  that  these 
services  have  more  reality  because  children  have  a  way 
of  being  disarmingly  sincere." 

The  first  program  which  Mr.  Johnson  developed  in 
this  series  of  services,  serves  as  an  illustration  of  the 
method  of  conducting  the  program.  The  subject  was 
"Girdling  the  Globe  in  the  Graf  Zeppelin". 

The  service  opened  with  the  hymn,  "In  Christ  There 
Is  No  East  Nor  West."  This  was  followed  by  the 
historic  Collect,  beginning  "Almighty  God  Unto  Whom 
All  Hearts  are  Open."  As  Mr.  Johnson  expressed  it, 
"Children  love  to  repeat  this  rythmic  prayer.  Whether 
they  understand  it  or  not,  they  seem  to  get  the  feel  of 
its  mood  and  it  sets  the  tone  of  the  remaining  part 
of  the  service." 

After  this  beginning,  the  film,  "Girdling  the  Globe  in 
the  Graf  Zeppelin"  was  introduced  with  the  following 
prologue : 

"This  year  we  are  going  on  an  airplane  trip  around 
the  world.  Since  few  of  us  have  enough  money  to 
really  pack  our  suitcases  and  go,  we  are  making  the  tour 
by  means  of  a  motion  picture.  We  are  fortunate  to 
have  this  wonderful  machine  which  can  bring  the 
world  before  our  eyes  on  this  screen.  Tonight  we  are 
going  to  take  a  birdseye  view  of  the  world  from  the 
giant  aircraft,  the  Graf  Zeppelin.  It  flew,  as  you 
know,  17,000  miles  around  the  world:  from  America 
across  the  Atlantic  to  Germany;  from  there  over  the 


Page  50 


The  Educational  Screen 


wilds  of  Siberia  to  Japan  and  from  Japan  to  Califor- 
nia and  back  to  New  York." 

Following  this  the  lights  were  put  out  and  the  picture 
was  shown.  The  film  depicted  various  aspects  of  the 
flight  and  included  some  magnificent  panaramas  of 
great  landscapes  and  cities.  It  was  well  balanced  with 
incidents  of  human  interest,  such  as  the  Chef  cooking 
aboard  the  ship. 

After  the  picture  was  finished  the  104th  Psalm  was 
read: 

"O  Lord,  my  God,  Thou  art  very  great ;  Thou 
art  clothed  with  honor  and  majesty. 
Who  coverest  Thyself  with  light  as  with  a  gar- 
ment ; 

Who  stretchest  out  the  heavens  like  a  curtain : 
Who    layeth    the   beams    of   his    chamber   in    the 
waters :  Who  maketh  the  clouds  His  chariot :  Who 
walketh  upon  the  wings  of  the  wind. 
Who  laid  the   foundations   of  the  earth,   that   it 
should  not  be  removed  forever. 
He  sendeth   the   springs   into  the  valleys,   which 
run  among  the  hills. 

"They  give  drink  to  every  beast  of  the  field ;  the 
wild  asses  quench  their  thirst. 
He  causeth  the  grass  to  grow  for  the  cattle,  and 
the  herb  for  the  service  of  man :  that  he  may  bring 
forth  food  out  of  the  earth. 

He  appointed  the  moon  for  seasons  :  the  sun  know- 
eth  His  going  down. 

The  sun  ariseth ;  Man  goeth  forth  imto  his  work 
unto  his  labor  until  the  evening ;  O  Lord  how 
manifold  are  Thy  works;  in  wisdom  hast  Thou 
made  them  all : 

The  earth  is  full  of  Thy  riches." 
After  the  reading  of  the   Scripture,   the   following 
short  talk  was  given  by  the  minister : 

"Several  years  ago  Charles  Lindbergh  flew  to  Mex- 
ico and  South  America  on  what  he  called  a  Friendship 
Tour.  There  is  a  cartoonist  by  the  name  of  Nelson 
Harding  who  won  a  prize  for  drawing  this  cartoon 
which  a])peared  in  the  Brooklyn  Eagle.  The  picture 
shows  Lindbergh's  plane  flying  over  Mexico.  On  the 
landscape  below  is  the  shadow  made  by  the  plane  and 
that  shadow  is  in  the  form  of  a  Cross.  These  words 
are  printed  on  the  Cross:  Peace  on  Earth,  Good  Will 
toward  Men.  These  words  are  to  be  our  slogan  for 
the  year.  We  are  going  to  visit  many  foreign  lands 
to  carry  peace  and  good  will. 

"This  is  a  wonderful  world  in  which  you  and  I  live. 
Last  week  I  went  to  the  Library  and  borrowed  a  book 
on  Geography.  I  found  that  this  earth  on  which  we 
live  is  just  a  small  speck  of  dust  which  hangs  in  space, 
n  you  think  of  a  large  baseball  three  feet  in  diameter 
and  let  that  ball  represent  the  sun  then  this  earth  of 
ours  is  only  about  the  size  of  a  green  pea.  The  moon 
is  only  a  pin  point. 

"Do  you  know  how  many  people  live  on  the  earth? 
It  is  impossible  to  count  them  all  but  the  best  guess 
is   about   two  billion.     All   of   these   people   could   be 


packed  into  a  box  a  half  mile  square  and  if  that  box 
were  dropped  into  the  ocean  this  world  would  be  with- 
out any  human  life  whatever;  but  things  would  go  on 
just  about  the  same.  The  sun  would  rise  and  tides 
come  in,  the  rain  would  fall  and  trees  and  flowers 
would  continue  growing  as  they  always  have.  Nobody 
knows  just  how  life  on  this  earth  began,  but  the  scien- 
tists tells  us  that  millions  and  millions  of  years  ago 
there  were  no  people  on  the  earth,  only  animals.  Many 
of  these  animals  were  queer  looking.  Some  were  weird 
and  huge,  so  strong  that  they  could  pull  a  tree  up  by 
its  roots.  Some  were  very  small  and  weak.  Then 
one  day  a  new  animal  appeared  on  the  earth.  He  was 
neither  big  nor  strong  as  compared  with  many  other 
animals  but  as  time  went  on  he  came  to  be  King  of  the 
beasts.  Many  of  the  other  creatures  died  off,  but  Man 
went  on  getting  more  and  more  powerful,  not  physi- 
cally, but  mentally. 

"By  using  his  brain  he  made  the  other  animals  serve 
him.  He  used  the  horse  and  ox  to  bear  his  burdens 
and  the  cow  and  hog  for  food.  Then  he  invented 
tools  and  finally  machines.  And  now  here  we  are. 
two  billion  of  us,  all  living  together  on  this  small 
planet.  It  is  as  though  we  were  all  fellow  passengers 
on  a  steamboat  riding  together  toward  some  distant 
point.  And  since  we  are  all  one  family  we  want  to 
get  acquainted  with  one  another  and  live  together  in 
peace. 

"In  the  evenings  ahead  you  will  see  many  new  sights. 
Mountains  and  valleys,  rivers  and  ])latns,  harbors  and 
islands,  cities  and  farms ;  people  of  all  colors  with 
strange  customs  and  dress.  God  made  this  world  for 
us  to  enjoy.  It  is  His  gift  to  us.  This  is  why  the  men 
who  wrote  the  Bible  praised  God  in  words  like  these : 

"For  the  Lord  is  a  great  God  and  a  great  God 
above  all  gods.  In  His  hands  are  the  deep  places 
of  the  earth ;  the  strength  of  the  hills  is  His,  also ; 
the  sea  is  His  and  He  made  it  and  His  hands 
formed  the  dry  land.  O  come  let  us  worship  and 
bow  down.  Let  U3  kneel  before  the  Lord,  our 
Maker." 
This  talk  was  followed  by  a  prayer: 

"W'e  thank  Thee  for  the  gift  of  friendshi])  that 
makes  people  care  for  one  another,  for  the  power 
of  love  that  drives  out  that  which  is  greedy  and 
mean  in  human  hearts.  Guide  us  in  our  friend- 
ship with  people  of  every  land  and  above  all,  may 
we  make  Jesus  are  best  friend.  Amen." 

Next  on  the  program  was  the  Offertory,  during 
which  the  Junior  Choir  sang  the  well  known  children's 
hymn,  "For  the  Beauty  of  the  Earth."  The  service 
closed  with  the  hymn,  "Fling  Out  the  Banner". 

In  summing  up  the  value  of  this  type  of  program, 
Mr.  Johnson  says  that  worship  service  with  the  aid  of 
motion  pictures  has  proved  its  value  in  terms  of  grow- 
ing interest  on  the  part  of  the  children  themselves.  The 
attendance  steadily  increased,  during  the  period  in 
which  these  programs  were  given. 


February,  19  i  6 


Page  51 


Depdrtment  of  Visual  Instruction 


Conducted  by  E.  C.  WAGGONER,  Secretary-Treasurer 


PROGRAM 

for  the  \\'inter  Meeting  at  St.  Louis  of 

The  Department  of  Visual  Instruction 
of  the  National  Education  Association 

Monday  to  Wednesday 
February  24  to  26,  1936 

Meeting   concurrently    with   the 
Department  of  Superintendence 


Department  Headquarters 
Melbourne  Hotel,  Grand  and  Lindell  Blvds. 

Department  Sessions  at 
St.  Louis  lulucational  Museum,  3325  Bell  Ave. 

Monday,  February  24th 

12:00  Noon.     Opening-   Luncheon  and   Regis- 
tration at  Melbourne  Hotel. 

(Luncheon.  $1.00)  (Send  reservations  to  Amelia 
Meissner,  Educational  Museum)  (Taxi  to  Edu- 
cational Museum,  7  minutes) 

2:00  P.  M.  to  4:30  P.  M.    Afternoon  Session. 
"Controversial  Problems  in  Visual  Education" 

H.    Ambrose    Perrin,    Superintendent    of    Public 

Schools,  Joliet,   Illinois. 

Demonstration  Class  in  History 

"Renaissance  of  the  Western  Civilization" 

Naomi  Anderson,  Englewood  High  School,  Chi- 
cago. 

Demonstration  Class  in  Science 

Louise  Langenohl,  Buder  School,  St.  Louis 

Demonstration  Class  in  Language 

"Teaching  Spanish  with  Visual  Aids" 

Albert  Goodrich,  Assistant  Principal,  Amundsen 
High  School,  Chicago 

Tour  of  the  St.  Louis  Educational  Museum, 

showing  its  notable  service  to  city  schools. 
Conducted  by  Miss  Amelia  Meissner. 

Tuesday,  February  2Sth 
9:00  A.  M.  to  11:30  A.  M.     Morning  Session. 

"Teaching  Safety  through  Visual  Methods" 

Herbert  J.  Stack,  Supervisor  of  Safety  Education, 
Bureau  of  Safety,  Research  and  Education,  New 
York  City. 

"Preparing    Teachers    in    the    Use    of    Visual 
Sensory  Aids" 

William  A.  Yeager,  School  of  Education,  Uni- 
versity of  Pittsburgh. 


'Visual  Aids  in  Remedial  Reading" 

Emmett   A.    Betts,    Director    of   Teacher    Educa- 
tion, State  Normal  School,  Oswego,  New  York. 

'The  American  Film  Institute" 

Edgar    Dale,    School    of    Education,    Ohio    State 
University,  Columbus,  Ohio. 


12:00  Noon. 
Hotel. 


Informal  Luncheon  at  Melbourne 


"Motion  Pictures — Not  for  Theatre" 

Arthur  Edwin  Krows,  veteran  motion  picture 
producer,  author,  and  recently  manager  of  the 
New  Outlook,  New  York  City. 
A  brief  summary  of  the  author's  complete  history 
of  the  non-theatrical  film  field,  planned  for  pub- 
lication in  book  form  during  1936. 

2:00  P.  M.  to  4:30  P.  M.     Afternoon  Session. 

"The  Jones  Rotary  System  of  Instruction" 

Arthur  O.  Baker,  Head  of  Science  Department, 
John  Marshall  High  School,  Cleveland,  Ohio. 
Will  also  treat  "New  Trends  in  Science  and  Ex- 
perimental Work  at  John  Marshall  High  School." 

"The  Sound  Film  as  a  Teaching  Aid" 

Leonard  Power,  formerly  Assistant  Superintend- 
ent of  Schools,  Tulsa,  Oklahoma,  and  President 
of  National   Platoon  School  Organization. 

"What  Next  in  Visual  Instruction?" 

F.  Dean  McClusky,  Director  Scarborough  School, 
Scarborough-on-Hudson,  New  York. 

Wednesday,  February  26th 

(No  morning  session — to  permit  attendance  at  the  im- 
portant general  session  of  the  Department  of 
Superintendence,  at  the  Municipal  .'Auditorium) 
(Taxi  from  Educational  Museum,  13  minutes) 

2:00  P.  M.  to  4:30  P.  M.     Afternoon  Session. 

Frank    N.    Freeman,    School    of    Education, 
The  University  of  Chicago,  presiding. 

"A  Symposium  on  Sound  and  Silent  Films  in 
Teaching" 

Two  Chicago-Erpi  sound  films  will  be  shown. 
"Volcanoes  in  Action"  and  "Sound  Waves  and 
their  Sources." 

Speakers  leading  the  discussion  will  be  J.  E. 
Hansen  of  the  University  of  Wisconsin. 
Dolph  Lain  of  the  Moline  Public  Schools, 
C.  F.  Hoban  Jr.  of  the  Clarion  State  Teach- 
ers College,  L.  W.  Cochran  of  the  University 
of  Iowa.  Russell  T.  Gregg,  of  the  University 
of  Illinois,  and  others.  Free  discussion  from 
the  floor  will  be  invited. 

4:30  P.  M.    Brief  business  session. 


Page  52 


The  Educational  Screen 


Film  Production  in  the  Educational  Field 


ONE  OF  the  major  types  of  educational  film  is 
that  which  shows  a  continuous  process  of 
some  sort.  The  process  demonstrated  may  be  any 
one  of  a  wide  variety.  The  construction  and  ma- 
nipulation of  a  puppet  may  be  shown,  for  example, 
as  in  the  picture  "Marionettes,"  produced  by  the 
Fine  Arts  Department  at  Ohio  State  University. 
Or  the  film  may  illustrate  the  steps  involved  in 
getting  a  water  supply.  Such  a  study  was  made 
by  J.  Ray  Stein  of  Akron,  Ohio,  who  traced  Akron's 
water  supply  pictorially  from  the  streams  that  feed 
the  giant  reservoir  at  Lake  Rockwell  to  the  water 
tap  in  the  home.  Other  examples  of  this  type  of 
picture  focus  about -studies  of  human  and  animal 
behavior.  Clinical  diagnosis  and  treatment  and 
even  the  development  of  disease  may  be  presented 
effectively. 

No  matter  which  of  these  various  subjects  you 
are  trying  to  film,  certain  general  principles  will 
apply  in  the  selection  and  presentation  of  your  ma- 
terial. The  subject  will,  obviously,  be  one  in  which 
the  process  —  the  means  by  which  the  end  is  at- 
tained— is  of  first  importance.  And  since  the  em- 
phasis is  laid  on  the  process,  the  technique  illus- 
trated, needless  to  say,  should  be  a  model  of  its 
kind. 

Whether  a  typical  or  rare  example  should  be 
selected  is  sometimes  a  question.  There  are  ad- 
vantages in  both  types.  The  typical  case  is  useful 
when  a  large  class  is  studying  the  technique  of  a 
certain  performance.  The  rare  example  may  pre- 
sent an  exceptional  case  that  the  students  might 
not  otherwise  have  an  opportunity  to  see.  In  the 
case  of  an  institution  with  limited  resources,  such 
a  film  may  ofiier  the  class  the  advantage  of  a  trip 
to  some  other  plant  or  clinic  or  laboratory.  Or  it 
may  serve  as  a  record — of  some  clinical  phenomena 
or  of  data  gathered  in  research. 

If  the  subject  is  skillfully  presented,  the  film  will 
have  sufficient  continuity  so  that  when  it  is  run  ofif 
without  pause  the  student  will  have  a  well-rounded 
conception  of  the  entire  process  illustrated.  At  the 
same  time  it  will  be  sufficiently  episodic  so  it  can 
be  shown  in  sections  for  purposes  of  class  discus- 
sion and  analysis. 

'  The  photographic  technique  is  also  of  great  im- 
portance, as  the  purpose  of  the  film  is  defeated  if 
the  process  is  not  clearly  "shown.  This  point  will 
be  discussed  later  in  detail. 

I  can  best  illustrate  the  practical  application  of 
these  various  points  by  describing  the  experience 
of  the  College  of  Veterinary  Medicine  at  Ohio  State 
University  in  making  their  own  16-mm.  films. 


Conducted  by  F.  W.  DAVIS 

Department  of  Photography 
Ohio  State  University,  Colunnbus 

The  College  of  Veterinary  Medicine  has  in  addi- 
tion to  its  regular  classroom  and  laboratory  work 
an  animal  clinic  which  at  times  houses  approxi- 
mately three  hundred  cases  of  all  descriptions.  With 
the  size  of  the  classes  constantly  increasing,  it  is 
not  possible  for  every  student  to  see  all  the  rare 
and  unusual  cases  that  present  themselves.  Ani- 
mals are  frequently  brought  in  for  treatment  with 
ailments  that  the  doctors  themselves  have  seldom 
observed.  It  is  a  decided  advantage,  therefore,  to 
preserve  these  cases  by  visual  records,  both  for  use 
in  the  classroom  and  for  future  reference. 

A  typical  filming  might  proceed  as  follows.  Let 
us  assume,  for  instance,  that  a  race  horse  has  de- 
veloped an  unusual  form  of  lameness  that  threatens 
to  end  his  days  on  the  track.  Before  treatment  is 
begun,  motion  pictures  are  made  of  him  in  action 
from  all  angles.  He  is  shown  walking,  trotting,  and 
running.  This  initial  picture  exhibits  his  condition 
when  brought  to  the  clinic. 

The  next  sequence  shows  the  horse  under  treatment 
of  one  kind  or  another.  As  improvement  takes  place, 
the  horse  is  successively  photographed  to  record  the 
steps  in  his  recovery.  To  the  student  viewing  these 
sections  of  films,  any  change  in  the  animal's  condition 
is  readily  apparent. 

Let  us  suppose,  however,  that  the  horse  does  not 
respond  to  simple  external  treatment  and  an  operation 
is  necessary.  This  also  calls  for  filming.  The  opera- 
tion is  performed  under  powerful  artificial  ilkunination 
and  every  move  of  the  surgeon  and  his  assistants  goes 
into  the  record.  If  the  operation  is  successful  and  the 
horse  recovers,  a  final  sequence  is  made  showing  the 
horse  in  action,  perfectly  sound. 

Such  a  film  may  be  of  immense  value  to  young 
veterinary  students.  Let  us  discuss  its  use  in  the  class- 
room. After  the  picture  of  the  horse  with  its  original 
ailment  is  shown,  a  group  of  seniors  is  requested  to 
diagnose  the  case.  The  subject  is  fully  discussed.  The 
next  portions  of  the  film  then  appear  in  which  the  horse 
receives  external  treatment.  When  it  is  apparent  that 
no  improvement  has  resulted,  another  "consultation" 
is  held.  Finally  the  operation  film  is  thrown  on  the 
screen  with  the  surgeon  present  to  explain  the  tech- 
nique ;  and  last  come  the  closing  series  showing  the 
cured  animal. 

The  advantages  of  this  type  of  film  as  a  teaching 
aid  are  evident.  Each  student  is  enabled  to  see  how 
an  unusual  case  is  handled  and  to  observe  clearly,  at 
close  range,  the  operation.    This  latter  fact  is  especi- 

(Conchided  on  page  62) 


February,  1936 


Page  53 


Advice... 

agam  we  seek  it! 


TWENTY- FIVE  YEARS  AGO  we  realized  the  edu- 
cational opportunities  offered  by  the  phono- 
graph. So  we  asked  educators  the  question:  "How 
can  we  help  you?"  The  answer  was:  "Cooperate  in 
developing  music  appreciation."  Out  of  that  ques- 
tion and  answer  grew  the  famous  music  appreciation 
aids  based  on  our  Victor  Records.  These  aids  have 
been  widely  and  steadily  used  for  many  years 
throughout  the  schools  of  the  country,  to  the  en- 
richment of  the  lives  of  millions  of  our  citizens. 

Today, this  organization  again  comes  to  educators 
with  the  same  question  of  twenty-five  years  ago. 
But  now,  instead  of  one,  there  are  many  products 
on  which  we  seek  your  counsel.  These  are: 

RCA  Photophone  3  5mm.  Sound  Film  Projectors, 
for  permanent  installations,  giving  results  in  school 
auditoriums  comparable  with  the  best  theatres. 

RCA  35mm.  and  i6mm.  Portable  Sound  Film 
Projectors,  for  smaller  rooms,  and  where  portabil- 
ity and  lower  price  are  essential. 

RCA35mm.  Slide  Film  Projectors  (still  pictures 
with  sound-on-disc). 

RCA  Film  Recording  Channels  (for  profes- 
sional use). 

(For  none  ot  the  above  does  RCA  make  films;  its  activities 
are  confined  to  making  the  best  possible  apparatus  for  show- 
ing films  with  maximum  clarity  of  picture  and  sound,  and 
for  recording  sound.) 


RCA  Centralized  Radio  Systems,  by  which  the 
principal  can  supply  educational  radio  programs 
to  individual  rooms,  make  announcements,  play 
records,  all  from  a  central  control. 

RCA  Oscillographs  and  Test  Equipment,  par- 
ticularly suited  as  laboratory  apparatus  for  courses 
in  electricity. 

Victor  Records,  with  whose  educational  develop- 
ment you  have  played  such  an  essential  part. 

RCA  Victor  Radio  Receivers  and  Radio- 
Phonographs. 

The  application  of  such  aids  in  education  is  not 
yet  a  definite  science.  Best  results  in  making  it  one 
will  be  obtained  by  the  closest  cooperation  between 
educators  and  manufacturers. 

So  again  we  ask  the  advice  of  those  who  best 
know  the  practical  problems  involved.  What  are 
your  needs  in  the  Visual  Sound  Educational  field? 
How  can  we  help  you?  "Will  you  not  assist  us  in 
further  enriching  the  lives  of  growing  Americans 
—  as  you  have  helped  us  in  furthering  music  ap- 
preciation through  the  medium  of  Victor  Records? 


Bring  your  suggestions  to  our  booth  at  the  N.  E.  A. 

Convention  in  St.  Louis.  Complete  RCA  Visual 

Sound  equipment  will  be  on  display. 


Mr.  Harry  Kapit,  Vice-President  of  Walter  O.  GutIohn,Inc., 
New  York,  offering  RCA  Projectors  and  Educational  Film 
Service  on  a  self-financing  basis,  will  attend  the  Convention. 

EDUCATIONAL  DEPARTMENT 


RCA  MANUFACTURING  CO.,  INC. 


CAMDEN,    NEW   JERSEY 


A    SERVICE   OF   THE   RADIO    CORPORATION   OF   AMERICA 


Page  54 


The  Educational  Screen 


School  Depdrtment 


Visual  Education  In  The  Kindergarten 

THE  KINDERGARTENS  of  the  country  have  been 
'  challenged.  They  have  met  the  challenge,  and 
though  budgets  have  been  cut  as  we  muddled  through 
the  depression  the  Kindergarten  has  remained  as  part 
of  the  school  system.  For  society  has  realized  that 
children  with  Kindergarten  training  are  in  possession 
of  broader  vision,  clearer  concepts  and  are  more  alert 
intellectually. 

This  contribution  could  only  have  been  attained  by 
improving  instruction  and  enriching  teaching  procedure. 
This  has  been  successfully  accomplished,  and  the  most 
important  factor  has  been  the  use  of  visual  education. 

Visual  Education  had  its  birth  in  the  Kindergarten. 
Froebel  wisely  made  sensory  experiences  one  of  the 
important  factors  in  child  training.  The  excursion 
where  the  child  is  taken  out  of  his  normal  environ- 
ment in  an  attempt  to  bring  him  to  the  realization 
that  he  is  a  link  in  the  great  life  about  him  as  well 
as  the  many  and  varied  objective  materials  brought 
by  the  Kindergartner  to  the  child  have  long  been  fa- 
miliar to  us.  This  method  of  exposing  the  child  to 
these     sensory     experiences     has     gradually     spread 


For  Auditorium  Use: — 
For  Classroom   Use: — 

The  high  powered  750  watt  pro- 
jection lamp  and  special  Bausch 
&  Lomb  projection  lenses  assure 
clear  and  brilliant  pictures  for 
audiences  up  to  2000.  Sound  is 
of  perfect  tonal  quality  and  un- 
distorted  for  audiences  of  this 
slie.  Simple  to  thread  and  oper- 
ate, extremely  quiet  running 
and  low  in  maintenance  expense. 
The  ideal  projector  for  teachers' 
class  room  use.  Completely 
portable. 

Syncrofilm  Sixteen  now  available  on  a  cooperative  buying  plan 
which  enables  you  to  own  outright  the  projector.  A  complete 
schedule  of  films  is  also  available.  The  SYNCROFILM  SIXTEEN 
sound  projector  is  self-liquidating  when  purchased  on  our  co- 
operative film  and  projector  plan.  Many  institutions  today  are 
using  SYNCROFILM  SIXTEEN  projectors  as  money  raising 
projects — you  too  can  now  take  advantage  of  this  opportunity. 
Write  for  complete  details  of  our  new  cooperative  plan. 

Weber  Machine  Corp. 

Manufacturers  of  35  mm.  and  16  mm.  Sound   Projectora 

59  RUTTER  STREET     —     ROCHESTER.  NEW   YORK 

New   York   Sales   and  Export  Department 
15  LalEht  St.,  N.  Y.  C.  -:-  Cable:  Romo».  N.  Y. 


Conducted  by  DR.  F.  DEAN  McCLUSKY 

Director,  Scarborough  School,  Scarborough-on-Hud«on,  N.  Y. 


throughout  the  school  sj-stem  and  to  these  have  been 
added  other  visual  aids,  particularly  the  motion  pic- 
ture and  the  lantern  slide. 

The  Kindergarten  set  the  pace.  It  is  not  going  to 
lag  behind  but  will  continue  to  keep  abreast  with  mod- 
ern practices.  To  accomplish  this,  it  makes  use  of 
the  most  economical  method  of  teaching,  economical 
in  the  sense  that  subject  matter  will  be  enriched,  re- 
tention will  be  greater  and  the  creation  of  interest 
will  be  far  beyond  our  power  to  measure. 

The  motion  picture  has  already  proved  its  value 
in  the  classroom.  It  is  to  be  regretted  that  for  the 
four  and  five-year-old  levels  there  is  very  little  film 
material.  Here  is  a  field  yet  unexploited.  an  oppor- 
tunity for  educative  films.  The  stereopticon,  on  the 
other  hand,  offers  a  wealth  of  material  in  the  form 
of  glass  slides.  The  slide  is  of  great  value  in  that 
large  clear  pictures  can  be  studied  without  eyestrain. 
One  teacher  has  gathered  and  sorted  slides  so  that 
they  are  available  in  such  groups  as — 

1.  Activities  of  Childhood. 

2.  Birds. 

3.  Animals  of  the  Farm. 

4.  Animals  of  the  Zoo. 

5.  Transportation. 

6.  Children  of  other  Lands. 

The  list  readily  suggests  how  slides  could  vitalize 
a  i)rogram.  Another  Kindergartner  has  painted  slides 
in  such  a  maner  as  to  best  illustrate  her  story.  A  group 
of  nursery  rhymes  flashed  on  the  screen  is  a  never 
ending  source  of  joy.  Birds  have  been  painted  and 
the  readiness  with  which  the  children  identify  them 
after  a  few  showings  is  sufficient  proof  of  the  picture 
power.     The  possibilities  are  endless. 

As  to  method  of  presentation,  that  will  no  doubt 
vary  with  the  individual  teacher.  The  following  sug- 
gestions have  proved  most  fruitful.  For  the  Motion 
Picture,  a  familiarity  with  the  subject  matter  before 
showing  should  be  a  requisite,  for  there  should  be  no 
interruption  through  the  showing  (which  is  given 
mainly  to  clarify  the  teacher's  oral  presentation).  An- 
other procedure  may  be  used  for  the  lantern  slide. 
It  is  advisable  for  the  teacher  in  the  early  showings 
to  carry  on  the  discussion,  explaining  and  aiding  the 
children  to  look  carefully  and  thoughtfully  at  what 
is  before  them.  Later  the  child  may  take  over  the 
discussion.  Many  a  shy  child  under  the  cover  of 
darkness  will  go  up  to  the  screen  with  pointer  in  hand 
and  freely  discuss  what  he  sees.  One  cannot  question 
the  contribution  of  enrichment  and  the  o]:)portunities 
for  oral  language  that  this  experience  affords.     New 


February,  1936  Page  5  5 

FILMSLIDES--The    Perfect 
Motion    Picture   Complement 


Filinslides  save   hours  of 
Teachers'  Time 


Economy  -  Convenience  -  Availability 
Make  Filmslides  an  Ideal  Teaching  Aid 


Economy 

Filmslides  give  exacj-ly  the  same  teaching  content  as  glass  slides  at  a  fraction  of  the 
cost  —  they  are  unbreakable  and  most  inexpensive  to  ship  from  place  to  place.  They 
save  teachers'  time  because  your  entire  lesson  is  visualized  in  a  single  strip  thus 
eliminating  time  usually  spent  in  assembling  and  disassembling  single  slide  sets.  They 
save  space,  as  100  pictures  are  stored  in  approximately   I  square  inch  of  space. 

Convenience 

Filmslides  are  maintained  in  permanent  libraries  in  the  individual  schools  or  school 
systems  and  are  ready  for  immediate  use  by  the  teacher.  There  is  no  time  lost  in 
turning  from  one  picture  to  the  next — no  noise — no  confusion.  The  entire  set  of  pic- 
tures is  in  perfect  order  for  the  next  showing.  Filmslides  are  standard  for  use  on  any 
film  stereopticon. 

Availability 

Thousands  of  educational  pictures  are  available  in  Filmslide  form,  and  others  are 
being  added  at  a  rapid  rate.  Many  of  them  visualize  exactly  the  same  period  of 
History,  for  instance,  as  do  certain  motion  pictures.  The  daily  use  of  Filmslides  there- 
fore and  the  weekly  showing  of  motion  films  for  summary  or  review  purposes,  consti- 
tute a  perfect  complement  one  to  the  other.  Filmslides  of  S.V.E.  production  are  known 
by  the  Trademark  name  of  "Picturol".  In  the  new  combined  1936  FILMSLIDE- 
PICTUROL  Catalog  more  than  100  new  subjects  are  listed. 


Projectors 

Rapid  strides  have  been  made  in  the  production  of  film  stereoptlcons  for 
projecting  Filmslides.  S.V.E.  PICTUROL  PROJECTORS  are  modern  in 
design  and  efficient  in  every  respect.  Thousands  of  schools  have  used 
S.V.E.  equipments  for  years  without  the  replacement  of  a  single  part.  The 
new  1936  PICTUROL  PROJECTOR  Catalog  will  give  you  full  information. 


S.  V.  E.   (200-watt)  Picturol  Projector 
Model    F,    for    Projecting    FILMSLIDES 


Educational   Motion    Pictures 

S.V.E.  Educational  Schoolfilms  are  available  for  use  on  either  16  or  35  mm.  Motion 
Picture  Projectors.  One  and  two  reel  subjects  cover  courses  in  History,  Geography, 
Nature  Study,  Health  and  other  subjects.  Rentals  are  low  and  service  prompt.  Write 
for  full  information. 

VISIT  US  AT  BOOTH  A-9,  ST.  LOUIS  CONVENTION 


Society  For.  Visual  Education,  Inc. 

<zMfi^ULf(icturers,  c^roducers  and  Cbisiribuijors  of  ()isualo{ids 

3Z7    SOUTH    LASALLE    STREET.,  CHICAGO,    ILLINOIS. 


m 


Page  56 


The  Educational  Screen 


$60.00  MOVIE  SCREEN 

For  classroom    movies,   every  school   should   have  Bt  ^^  M  ^C 

least    one    of    these    9x9    ft.    professional    quality  V^  Jl    /  '^ 

screens,    surfaced    exactly    like    the    screen    in    your  «P  I  #1    f  w 

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back   board   with   screw   eyes   for   wall    or   ceiling   or  I  ^T    ^ 

for    hanging    on    Super-Tripods.      Choice   of   wall    or  ■  ■      w 
ceiling    brackets.      Order    this    outstandlns    bargain 
today.     Satisfaction  guaranteed  or  your  money  back. 

Now  Ready  — 

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16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly    believe)    are    the    lowest    in    the    U.    S.    A. 

All  programs  unconditionally  guaranteed. 

All   postage  on   films  —  both   to   and  from  destination  —  paid   by   us. 

We  are  organized  for  service — -not  for  profit. 

May  we  save  you  money  on  your  equipment?     Try  us  ! 

THE     MANSE     LIBRARY     ""  "'5i'„'e''i';„aa'b.''""°° 


MOTION  PICTURES 
OF  THE  WORLD 

EDUCATIONAL  FILM  DIRECTORY 

1936  INNOVATIONS 


GIVES   PRICES  —  Never   before    accom- 
plished in  a  comprehensive  directory. 

GIVES  SHIPPING  POINTS— You  can  ap- 
proximate transportation  costs. 


LONG  DESCRIPTIONS 

you  are  getting. 


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NO  RED  TAPE  —  No  preliminary  corres- 
pondence necessary  before  ordering 
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ALWAYS  MOST  UP-TO-DATE— It  is  the 

only  general  directory  published  semi- 
annually. 


SUBSCRIBE  NOW 

Send  35c  stamps  (3  subscriptions  for  a  dollar). 
This  entitles  you  to  Spring  and  Fall  1936  directories 
and  to  all  our  services. 


INTERNATIONAL     EDUCATIONAL     PICTURES 
Room  A  40  Mount  Vernon  St.,  Boston 


words  creep  into  the  vocabulary,   speech   defects  are 
corrected  and  imagination  enlivened. 

A  venerable  device,  but  still  of  great  value,  is  the 
stereoscope.  It  excells  all  mediums  in  portraying  the 
feeling  of  solidity,  hence  realism.  Group  conversation 
blossoms  as  three  or  four  children  exchange  their 
thoughts  on  what  they  have  seen. 

It  is  impossible  to  leave  this  subject  without  a  few 
words  of  comment  on  the  use  of  blackboard  drawings. 
How  many  stories  would  have  gained  zest  had  the 
teacher  with  a  few  simple  line  drawings  illustrated 
the  action  of  the  story.  In  time  the  children  may  be 
encouraged  to  present  their  stories  in  similar  manner. 
A  very  interesting  result  of  this  was  seen  in  a  group 
of  three  children  covering  the  blackboard  with  the 
story  of  the  pony  engine.  This  provoked  much  dis- 
cussion on  the  part  of  the  illustrators  and  eqtially  as 
much  criticism  and  suggestion  from  their  classmates. 

The  Kintergartner  who  feels  keenly  the  great  re- 
sponsibility that  is  placed  upon  her,  will  whole- 
heartedly welcome  methods  which  vitalize  and  in  turn 
lead  to  economy  in  learning.  In  this  way  she  can 
prove  her  intense  loyalty  toward  her  profession  and 
her  country. 

By  MARGARET  M.  BRINE 

Cambridge,    Mass. 

University  Projection  Course 

An  eight-weeks'  evening  course  in  motion  picture 
projection  has  been  added  to  the  adult  education  pro- 
gram of  the  University  Extension  Division  of  the 
Massachusetts  State  Department  of  Education.  The 
course,  which  is  the  first  of  its  kind  to  be  offered  in 
New  England,  opened  February  4th  at  the  Massachu- 
setts Institute  of  Technology  under  the  direction  of 
Louis  Frey,  former  head  of  an  independent  school  for 
operators.  According  to  Extension  Director  James  A. 
Moyer,  the  course  has  been  planned  to  aid  those  who 
have  some  knowledge  of  motion  picture  work  and  who 
wish  to  secure  an  operator's  license. 

New  York  Visual  Group  Program 

Members  of  the  Metropolitan  New  York  Branch  of 
The  Department  of  Visual  Instruction  of  the  N.  E.  A. 
attended  a  meeting  of  the  Visual  Instruction  Section  of 
the  New  York  Society  for  the  Experimental  Study  of 
Education,  held  Friday  evening,  January  10th,  at  the 
School  of  Commerce,  College  of  the  City  of  New 
York.  Mr.  Elias  Katz  of  Teachers  College,  Columbia 
University,  led  the  discussion  on  "Experiments  in 
School  Made  Movies,"  illustrated  by  films  produced 
by  Lincoln  High  School  children.  The  titles  of  the 
films  shown  are  H2O  (by  Ralph  Steiner),  The  Fall  of 
the  House  of  Usher  (by  Watson  and  Webber),  and 
Brothers  of  Altamira  (by  students  of  Tenth  Grade  In- 
tegrated Course). 


February,  1936 


Page  57 


<LAnnouncemenLj 


\<o}m 


EDUCATIONAL 


(JS-r9S^ 


Harry  A.  Kaplf,  Vice-President  of  Walter  O. 
Gutlohn,  Inc.,  will  visit  the  N.  E.  A.  Convention 
in  St.  Louis  during  the  week  of  February  24.  He 
will  discuss  with  school  superintendents  and 
directors  of  visual  education  a  budget  plan  for 
recreational,  as  well  as  classroom,  16  mm.  sound- 
on-film  subjects.  Mr.  Kapit  will  make  his  head- 
quarters at  the  RCA  booth. 


The  new  RCA  deferred  payment  plan  gives  you 
both  film  service  and  a  16  mm.  sound  projector 
on  a  self-supporting  basis. 

Educators  not  attending  the  Convention  may 
obtain  detailed  information  by  mail  upon  re- 
quest. 


Walter  O.  Gutlohn,  Inc* 


35  WEST  45th  STREET 


NEW  YORK,  N.  Y. 


New  York  University  Continues  Film  Course 

The  second  term  of  the  Motion  Picture  Course  at 
New  York  University,  conducted  weekly  by  Frederic 
M.  Thrasher,  Associate  Professor  of  Education,  and 
others,  began  February  6th  with  an  illustrated  lec- 
ture on  "Motion  Pictures  in  College  Education,"  by 
Robert  A.  Kissack,  Jr.,  Director,  Visual  Instruction, 
University  of  Minnesota.  Titles  of  some  of  the  sub- 
sequent lectures  are : 

"Psychiatric  Aspects  of  Motion  Pictures,"  by  Dr. 
A.  A.  Brill,  noted  psychiatrist. 

"The  Motion  Picture  and  Social  Hygiene,"  by  Dr. 
William  Snow,  Director,  American  Social  Hygiene  As- 
sociation. 

"Motion  Picture  Appreciation  and  the  Schools,"  by 
William  Lewin,  Chairman  Motion  Picture  Committee, 
Department  of  Secondary  Education,  N.  E.  A. 

"The  Educational  Talking  Picture,"  by  V.  C.  Arn- 
spiger,  Erpi  Picture  Consultants,  Inc. 

"Industrial  Films,"  by  Arthur  L.  Gale,  Editor, 
Movie  Makers. 

"Scientific  Films  and  the  Role  of  the  Museum  in 
Visual  Education,"  by  Dr.  Raymond  Ditmars,  New 
York  Zoological  Park,  and  Grace  Fisher  Ramsey, 
American  Museum  of  Natural  History. 

"Religious  Use  of  Motion  Pictures,"  a  conference 
of  religious  agencies  to  demonstrate  actual  use  of 
pictures. 


the 


^^^  ALL 
SPROCKET 
PROJECTOR 

SILENT 

or 

SOUND 
on 

FILM 


v«^ 


All 
Shaft 
Driven 

Straight 

Sound 
Aperture 

Direct 
Beam  of 
Light  on 

Sound 
Track  and 
Photo  Cell 

Hold  Back 
Sprocket 

Filtered 

Sound 

Sprocket 


VOX 


PROFESSIONAL 
QUALITY 

Ask  any  professional  operator 
why  these  HOLMES  16  mm 
features  are  so  necessary  to 
the  finest  sound  reproduction 
and  picture  projection. 

"Write  for  full  descriptive 
literature. 


No  Bolts 
No  Chains 

No 
Sound 
Drum 

No 

Reflected 

Light  from 

Sound 

Track  to 

Photo  Cell 

No  Claw 
Movement 

No  High 
Speed 
Shafts 


HOLMES    PROJECTOR    COMPANY 

1813  N.  ORCHARD  STREET  CHICAGO,  ILLINOIS 


Page  58 


The  Educational  Screen 


SHOW  GEORGE  ARLISS 
IN  "THE  IRON  DUKE" 
ON  A  FREE  PROJECTOR 

Now  your  school  can  see  and  hear  cultural  enter- 
tainment without  incurring  the  expense  of  buying 
a  projector.  We  will  supply  free — no  deposit  re- 
quired— a  latest  model,  16  mm.  talking  picture  pro- 
jector for  your  use.  Simply  select  two  films  a  month 
from  our  extensive  entertainment  library  and  the 
projector  is  yours  rent-free.  Write  now  for  Spe- 
cial School  Plan  B  and  our  Sound-on-Film  catalog. 


nLfns 

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NEW  YORK.  N.  T. 


EWS-WECK      PHOTO      BV     WENDELL      MACRAE 


ENLARGED    7000    TIMES 

■ — one    of    the    most    amazing     feats    of 
candid    camera    history 

The  picture  shows  Ivan  Dmitri  standing  alongside  his  mammoth  en- 
largement—10  feet  long  by  7  feet  high — shown  at  the  Second  Inter- 
national Leica  Exhibition  at  Rockefeller  Center,  New  York.  (Now  on 
tour  to  20  of  the  principal  cities.) 

The  spectacular  has  become  almost  commonplace  with  Leica.  As 
one  critic  said,  "It  has  revolutionized  picture  taking  and  placed  it 
among  the  arts". 

Are  you  familiar  with  the  Leica  ?  Would  you  like  to  lake  pictures 
that  are  different — action  pictures,  natural,  unposed  candid  pictures? 
Then  write  for  our  latest  illustrated  booklet  describing  The  Leica 
Model  G— just  out. 

Don't  miss  your  copy  of  "Leica  Manual",  a  new  500  page  book 
on  all  phases  of  Leica  photography.  There  is  one  whole  section  devoted 
to  "Leica  in  Science  and  Education"  including  chapters  on  "The  Leica  in 
Visual  Education",  "The  Leica  in  Historical  Research",  "Copying 
Books  and  Manuscripts",  "The 
Miniature  Camera  for  Miniature 
Monsters",  "Photomicrography  with 
the  Leica",  "Eye  Photography", 
"Infaa-Red  Photography",  "Astron- 
omical Photography". 


Bica 


Model  G  with 
f:i  Summar  Speed  Lens 

THE      ORIGINAL      MINtATURE       CANDID      CAMERA 

PRICES  START   AT  $99.      U.  8.    PAT.    NO    1.960,044 


E.  LEITZ,  INC.    •    DEPT.  117  •  60  EAST  lOth  ST.,  NEW  YORK  CITY 

Branch  offices  in  CHICAGO  -WASHINGTON   •  LOS  ANGELES  •  SAN  FRANCISCO 


Current  Film    Releases 


Natural  Science  Series 

A  splendid  series  of  one-reel  educational  35mni 
sovmd  motion  pictures,  titled  The  Struggle  to  Live,  is 
being  released  by  the  Van  Beuren  Corporation  through 
RKO  Radio  Pictures.  Each  of  the  three  subjects  pro- 
duced to  date  is  really  an  intense  lesson  in  natural 
history  given  in  the  greatest  detail. 

The  first  subject,  titled  Neptune's  Mysteries,  deals 
with  such  lowly  creatures  as  snails  and  octopi.  A 
microscopic  lens  is  used  to  show  the  snail  as  a  really 
beautiful  and  very  interesting  inhabitant  of  the  sea. 
Many  stories  have  been  told  of  the  terrible  octopi,  but 
here  the  octopus  is  seen  to  be  a  kindly  creature  ready 
to  defend  its  young  with  its  very  life. 

In  the  second  subject,  Hermits  of  Crab  Land,  a 
short  talk  is  given  on  the  evolution  of  the  crab  and 
then  different  types  are  studied  in  the  various  stages 
of  growth  before  reaching  the  adult  stage.  Charac- 
terestics  of  the  Mantis  Shrimp,  sand  crab  and  hermit 
crab  are  shown. 

The  third  subject,  Beach  Masters,  unfolds  one  of 
nature's  most  mystifying  phenomena,  namely,  the 
yearly  migration  of  seals  to  the  shores  of  the  Mist 
Islands  in  the  Bering  .Sea,  the  only  ])lace  in  the  world 
where  such  a  great  assemblage  of  seals  may  be  wit- 
nessed. 

Additional  subjects  are  planned  for  this  series,  the 
next  one  to  be  on  bird  life  and  after  that  a  subject 
devoted  to  soldier  ants  that  are  found  in  the  tropics. 

New  Indusfrial  Subjects 

Because  of  the  active  interest  that  has  been  shown 
in  their  "Yearly  Salary  Plan  for  Employees,"  Nunn, 
Bush  and  Weldon  Shoe  Company,  Milwaukee,  have 
had  the  story  produced  in  a  two-reel  motion  picture, 
entitled  52  Pay  Checks  Each  Year,  which  is  now 
available  to  educational  groups.  Produced  entirely 
from  an  academic  point  of  view,  the  film  will  provoke 
thoughtful  discussion  among  all  students  of  present 
day  economic  problems.  Dr.  Stewart  Scrimshaw,  Pro- 
fessor of  Economics  and  Industrial  Relations,  Mar- 
quette University,  being  thoroughly  familiar  with  the 
aims  and  ideals  of  both  management  and  employees, 
appears  in  the  film  and  comments  on  what  has  been 
done. 

This  production  is  of  particular  interest  to  classes 
in  Sociology  and  Economics ;  also  to  church  audiences 
interested  in  Social  Betterment.  Prints  are  available 
in  both  35mm  and  16mm. 

*  *  * 

The  history  of  transportation  development  is  graph- 
ically portrayed  in  the  16mm  sound-on-film  1000-foot 
reel.  Farther,  Faster,  Safer,  recently  released  by  The 
Pennzoil  Company.  The  story  of  speed  is  traced 
from   the   Covered   Wagon   to  the   Coast-to-Coast  air 


February,  1936 


Page  59 


"TAKE  IT  EASY" 

The   latest   scientific   study   of   drivers'    physical 
condition  which  results  in  accidents. 

A  truly  fine  constructive  safety  motion  picture, 
silent  and  sound  —  35  mm.  and   16  mm.  —  Free. 


XXX   - 


ti 


THE   NEW   ADVENTURE 


»» 


Budgeting    the    budget    of    home    expenditures. 

A   real    picture   for    high    schools    and    colleges. 

Sound  —  35  mm.  and  16  mm.  —  Free. 

-  XXXX  - 

HUNDREDS   OF   SELECTED 

SILENT  AND  SOUND 

SUBJECTS. 
FREE  AND  RENTAL. 

Write  for  Free  copy  "Catalog  E". 

Y.M.C.A.  Motion  Picture  Bureau 

347  Madison  Ave.  19  S.  LaSalle  St. 

New  York,  N.  Y.  Chicago,  III. 


NEW  FINANCE  PLAN 


FOR  - 

SCHOOLS,  CHURCHES,  ETC. 

We  have  just  completed  a  new  and 
unusual  finance  plan  which  will  enable 
every  school,  church  and  similar  insti- 
tution to  own  the  latest  16mm.  or 
35mm.  SOUND  ON  FILM  PRO- 
JECTOR on  liberal  and  convenient 
TERMS. 

WRITE  FOR  COMPLETE  DETAILS 

We  sell  BELL  &  HOWELL,  AMPRO,  VIC- 
TOR, R.C.A.,  SYNCROFILM,  «s  well  as 
DE  VRY   Equipment. 

WE  ALSO  HAVE  SEVERAL  SLIGHTLY  USED  AND 
REPOSSESSED  TALKING  PICTURE  PROJECTORS 
THAT  WE  CAN  OFFER  AT  LESS  THAN  COST. 
YOU  CAN  PURCHASE  THESE  AS  WELL  ON  THE 
ABOVE  CONVENIENT  PAYMENT  PLAN.  ABSO- 
LUTELY NO  INTEREST  CHARGE. 

SUNNY   SCHICK 

NATIONAL  BROKERS 

407   W.   WASHINGTON   BLVD. 

FORT  WAYNE,  IND. 


A  NATIONALLY  PROMINENT 
SUPERINTENDENT  OF  SCHOOLS 

(name  furnished   on   request) 

ENDORSES  THE  GREAT  VALUE  AND 
INDISPENSABLE  CHARACTER  OF 


The  Chronicles  of  America 
Photoplays 


"Our  teachers  who  have  used  them  for  a 
year  are  enthusiastic  over  what  can  be 
accomplished  through  the  regular  use  of 
these  films  in  classroom  Instruction  and 
report  that 

1.  "These  filnas   enrich   the   background   wifh    a 

wealth  of  detailed  information  that  no 
teacher  can  give. 

2.  "They  clarify  the  children's  ideas. 

3.  "They    are    inspirational    and    give    a    better 

understanding  of  the  period  being  studied. 

4.  "They  help  the  children  to  a  better  interpre- 

tation of  the  text;  the  fine  sequence  of  the 
events  in  these  films  enables  the  children  to 
carry  the  thought  through  the  story;  through 
the  portrayal  of  hero  characteristics  the 
children  sense  the  personality  of  the  historic 
person. 

5.  "Through  the  portrayal  of  manners,  customs 

and  dress  of  the  historic  periods  the  pupils, 
in  their  study,  live  the  time  of  the  episode. 

6.  "The  use  of  these  films  developed  a  clearer 

understanding  of  the  historic  events  which 
were  presented,  a  quickened  interest  in  the 
study  of  them,  a  better  retention  of  that 
which  was  learned." 

Every  course  In  American  history,  every 
program  of  visual  Instruction,  and  of 
citizenship  training,  should  include  this 
series  of  fifteen  authentic  and  dramatic 
reconstructions  of  important  milestones 
In  American  history. 

When  planning  next  year's  program,  be 
sure  to  write  for  our  illustrated  booklet 
and  full  Information. 

YALE    UNIVERSITY    PRESS 
FILM    SERVICE 

386  FOURTH  AVENUE         NEW  YORK,  N.  Y. 


Page  60 


The  Educational  Screen 


Teach  the  Visual  Way 

with    PHOTOART 

VISUAL    UNITS 

A  complete  and  well  organized  picture  series.  The 
(li'scriptive  material  above  each  picture  will  aid  the 
child   in  interpreting  the  picture  correctly. 

At  present  we  have  ready  for  you 

Means  of  Transportation 6"  cards 

Japan 58  cards 

Coal  Mining 56  cards 

U.   S.   Northern  Interior 74  cards 


$2.25 
1.93 
1.95 

2.25 


Actual  Size  6x91/2 

Photoart  House 


Send  for  sample  card  today. 


844  N.   PLANKINTON  AVE. 
MILWAUKEE.  WISCONSIN 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS  PRINCIPLES   OF   CHEMISTRY 

The  Tbualization  of  high  school  The  core  of  the  year's   work  in 

physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 

classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

VISUAL    SCIENCES  —  Suf  fern,    N.Y. 


For  Making  Home-Made  Slides 

GLASSIVE  —  an  abrasive  for  making  your  own 
ground  glass  slides  from  plain  cover  glass 
for    a     fraction    of    a    cent    each.       50c    a    package. 

CELLOSLIDE — Eliminates  the  necessity  of  writing  on 
glass.  Takes  ink  better  than  glass.  500  sheets  for  $1.00. 
(Dealers  Want<*d  —  Write  for  terms) 

TEACHING  AIDS  SERVICE,  Jamaica plain.mass. 


FOR  SALE — Used  16  mm.  projectors  that  have 
been  employed  in  school  work — all  in  A- 1  condition 

6  Bell  and  Howell  Modsl  57GG,  375-watt $100.00 

1  BeM  and  Howell  Model  R.  500-watt 100.00 

1   Bell  and  Howell  Round  Base,  400-watt  50.00 

1  Bell  and  Howell  Model  JL.  400-watt  (gear  driven) 120.00 

2  Victor  Model   lOFH,   500-watt 50.00 

1   Victor  Model    10,   600-watt  75.00 

1  Victor  Model  20,   750-W3tt    80.00 

2  Victor  Model  3,  300-watt,  $60  ;  1  Ampro 80.00 

1   Victor  Sound-on-film   projector,   500-watt 250.00 

1   RCA  Sound-on-film  projector,   500-watt  250.00 

Also  30  English  and  History  feature  films  (16mm.)   at 

$10.00  per  reel. 

Above  are  priced  for  quick  sale — act  early  if  interested. 

STEWART'S  SCHOOL  FILMS  ''^„"^l''jll" ^^>^: 


A  Revised  Edition 

of  this  Aveli- known  book 
just  off  the  press. 

THE  EDUCATIONAL 
•  TALKING  PICTURE 

By  Frederick  L.  Devereux 
Vice-President,  Erpi  Picture  Consultants,  Inc. 

This  new  edition  covers  the  many  im- 
provements which  have  been  made  in 
motion  picture  equipment  since  the  first 
edition  in  1931.  Up-to-date  on  data  and 
new  illustrations. 

222pages    $2.00 ;postpaid, $2.10 

The  UNIVERSITY  of  CHICAGO  PRESS 


THE  LEICA  MANUAL 
by 

Willard    D.   Morgan 
and  Henry  M.  Lester 


—  the    most   complete    and   up-to-date 
book  on  the  subject  of  LEICA  photogra- 
phy.  500   pages  crammed  with   the  most 
fascinating    photographic    lore  imaginable. 

Here  is  a   book    which    represents   the 
accumulated  experience  of  22  specialists  and 
pioneers   in    Miniature    Camera    Photography. 

There  is  one  whole  section  devoted  to  "Leica  in  Science  and 
Education"  including  chapters  on  "The  Leica  in  Visual  Education", 
"The  Leica  in  Historical  Research",  "Copying  Books  and  Manuscripts", 
"The  Miniature  Camera  for  Miniature  Monsters",  "PhotomicrographY 
vrith  the  Leica",  "Eye  Photography",  "Infra-Red  Photography",  "Astro- 
nomical Photography".  Your  Photographic  Dealer  or  your  Book  Store 
has  It!   $4.00  the  copy. 

E.     LEITZ,     INC.        •       DEPARTMENT     B-238 
60      EAST      lOth      STREET,      NEW      YORK      CITY 

liners  and  streamlined  trains  of  today,  showing  the 
changes  and  improvements  that  have  taken  place  in  the 
automobile,  locomotive,  engine-driven  boat,  and  air- 
plane. 

*     *     * 

The  construction,  operation  and  care  of  the  internal- 
combustion  engine  is  pictured  in  a  newly-revised  2-reel 
silent  film  entitled  The  Power  Within,  prepared  under 
the  supervision  of  the  Bureau  of  Mines,  Department 
of  the  Interior,  in  cooperation  with  one  of  the  coun- 
try's largest  automobile  manufacturers.  The  story 
opens  with  various  episodes  showing  the  uses  of  power 
produced  by  the  internal-combustion  engine.  Ani- 
mated drawings  explain  in  detail  the  name,  location  and 
operation  of  each  part  of  the  motor.  The  latter 
part  of  the  picture  describes  the  action  of  the  car- 
buretor in  atomizing  and  mixing  the  fuel  with  air 
before  it  enters  the  cylinders ;  improper  firing  and 
waste  of  gasoline  due  to  fouled  spark  plugs ;  knocking 
caused  by  accumulation  of  carbon ;  and  the  proper  use 
of  the  choke. 

Ethiopia  in  1 6  mm.  Film 

The  first  new  single-reel  16  mm.  motion  picture  sub- 
ject on  Ethiopia,  sound-on-film  or  silent,  is  announced 
as  available  for  sale  or  rental  by  the  Library  Division 
of  the  Bell  &  Howell  Company.  This  timely  and 
vitally  interesting  film  portrays  the  nature  of  the  coun- 
try and  the  intimate  daily  life  of  the  people.  The 
sound  narrative  provides  an  intelligent,  fair,  and  un- 
varnished presentation  of  Ethiopian  history,  popula- 
tion, form  Q?  government,  economic  pecularities,  trades, 
religions,  and  many  other  points  of  interest.  It  is 
not  a  transitory  "war"  film,  although  thousands  of 
tribesmen,  afoot  and  on  horseback,  are  caught  by  the 
camera,  and  the  problem  of  providing  food  for  a  vast 
army  are  drastically  portrayed.  The  photography  is 
by  Burton  Holmes,  world-renowned  traveler. 


February,  1936 


Page  61 


All  Ampro  silent  16  nun.  projectors  have  no-w  been 
approved  for  listing  by  the  Underwriters'  Labora- 
tories. The  Underwriters'  Laboratories  were  estab- 
lished and  are  maintained  by  the  National  Board  of 
Fire  Underwriters  for  service  and  not  for  profit.  This 
approval  of  Ampro  is  an  additional  safe-guard  for  you. 


SEAL       OF 


APPROVAL 


Remarkable  Engineerins  'n*- 
provement.  A  New  Standard  of 
Clarity  and  Brilliance  .... 
NEVER    BEFORE    POSSIBLE! 

Ampro  now^  announces  a  construction  advancement 
of  major  importance  to  you.  From  six  months  of 
laboratory  research  comes  a  method  that  almost 
doubles  Ampro's  standard  of  illumination  without 
increasing  the  wattage  of  the  lamp  used.  Available 
on  the  "J"  Series  and  the  "K"  Series.  16  mm.  New 
dual-convex  condensers  ...  a  split-phase  rotary 
shutter  .  .  .  and  other  engineering  principles  have 
been  combined  to  give  you  the  most  brilliant  motion 
pictures  you  have  ever  seen.     There  is  no  comparison! 

You  have  to  SEE  it 

to  BELIEVE  it! 

Ask  your  dealer  for  an  Ampro  demonstration  —  no 
obligation.  Operate  the  Ampro  projector  yourself — 
prove  that  w^ith  its  simplified  mechanism  you  can 
secure  flickerless,  professional  results  easily.  The 
super-illumination  added  to  the  other  basic  features 
makes  Ampro  the  outstanding  projector  value.  No 
increase  in  price.  Silent  projectors  priced  from  $13  5, 
complete    w^ith    carrying    case    and    all    accessories. 

SEE  OUR  DISPLAY.  BOOTH  A-9 
N.  E.  A.  CONVENTION,  ST.  LOUIS,  MO. 


►ILIPIRJD 

C  IDlRJPIDlE^inCCii? 

2839-5/  NORTH  WESTERN  AVENUE 


5% 


CHICAGO 


ILLINOIS 


Page  62 


The  Educational  Screen 


Lit    d^tojecticn 


Britelite-Truvision  is  more  than  a  name.    It 

describes  tne  unusual  luminosity  and  the  un- 

distorted  and  life-like  definition  that  these 

screens  afford  ...  A  wide  variety  of  styles 

includes  Folding  De  Luxe  "A"  as  illustrated, 

back-board,    metal    tube    and    ease!    models. 

DE    LUXE    "A"    CRYSTAL    BEADED 

SCREEN— 30x40"— $15.00   List.     Other 

sizes  and  models  priced  in  proportion. 

A  complete  catalog  is  at  your  disposal. 


BAIT-E-LIT-e 
TAUVISIOM 


portable  prqjediori 
screens 


Motion  Picture  Screen  &  Accessories  Co. 


528  WEST  26th  STREET 


NEW  YORK 


Burton   Holmes  Films,  Inc. 

Renders  a  complete  motion  picture  service 

•  Film  production  •  Developing  •  Printing  •  Titling 

•  RCA  "High  Fidelity"  sound  recording 

Largest,   most   modern,   most   completely   equipped 

motion  picture  laboratory  between  New  York  and 

Hollywood.    Write  for  prices. 

"Free  Loan"  ''CamivaK^  ''Free  Loan" 

A    feature    lensth    16inm.    sound-on-film    story    of 
the   World's   Fair,     You   pay   transportation  charges 
only.     Write  for  details. 

Burton  Holmes  FilmS/  Inc. 

7510  N.  Ashland  Avenue  Chicago,  Illinois 


^y      Talk  from  your 
H    screen  with  quickly 
g       TYPEWRITTEN 
g         MESSAGES 

g    50  Radio.Mats  $1.50 
^4  White,  Amber,  Green 

^^L     Atcrpt  no  substitute       a 

a: 

* 

MAKE   YOUR  OWN 

TYPEWRITER     SLIDES 

For    Screen    Projection 

USE        RADIO        MATS 

on   sale  by   Theatre  Supply   Dealers 
Write  for  Free  Sample 

RADIO-MAT  SLIDE  CO.,  Inc. 

1819  Broadway,  Dept.V.  New  York  City 

»   ISHESlAIIONERrOFTKESCIIEtll 

16-mm  TALKING  or  SILENT  PROJECTOR 
FOR  YOUR  SCHOOL 

Without  a  Cash   Payment 

Our  library  of  16mm. 

SOUND  and  SILENT  EDUCATIONAL  FILMS 

Is  One  of  the  Largest  in  the  U.  S.  A. 

CATALOGUE  FREE 
IDEAL     PICTURES     CORPORATION 

30  EAST  EIGHTH  STREET  CHICAGO,  ILL. 


BETTER  16  mm.  Sound-on-Film 

JUST  RELEASED  

JOAN  of  ARC 


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Produced  in  France — English  Talk 


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729— 7th  AVE.,  N.Y.C. 


Film  Production  in  the 
Educational  Field 

(Concluded  jrom  l>agc  52) 

ally  pertinent  when  one  considers  the  usual  crowding 
and  congestion  when  a  large  group  attempts  to  observe 
a  surgeon  at  work. 

Now  let  us  look  as  some  of  the  technical  problems 
involved  in  making  the  film.  First  the  question  of 
light.  There  exists  with  many  amateur  producers  a 
misconception  concerning  the  amount  of  light  neces- 
sary for  technically  good  pictures.  The  popular  idea 
is  that  with  large-diameter  lenses  and  fast  films  we 
need  only  a  meager  amount  of  illumination.  This  is 
not  entirely  true.  Even  with  all  our  modern  equip- 
ment, such  as  high-speed  lenses,  high-speed  film  emul- 
sions, and  modern  camera  design,  we  cannot  make 
satisfactory  motion  pictures  without  good  light  in  suf- 
ficient quantities. 

In  all  our  motion-picture  camera  lenses,  there  is  an 
aperture  control  known  as  a  diaphragm,  a  small  cir- 
cular device  for  reducing  the  effective  lens  surface 
used.  This  diaphragm  is  i)laced  between  the  front  and 
rear  elements  of  the  lens  itself.  When  the  aperture 
is  reduced,  the  lens  is,  as  we  say,  "stopped  down"  and 
becomes  smaller  in  diameter.  The  light  reaching  the 
film  is  reduced  proportionally.  Here  arises  the  popu- 
lar misconception.  The  common  notion  is  that  the 
size  of  the  lens  should  be  varied  according  to  the 
strength  of  light  —  the  more  brightly  the  subject  is 
illumined  the  more  the  lens  is  stopped  down  and  the 
weaker  the  light  the  more  the  lens  is  opened  by  way 
of  compensation. 

In  many  instances  it  is  correct  to  vary  the  lens  in 
this  way  to  accommodate  the  strength  of  light.  But 
the  diaphragm  has  another  use  just  as  important,  based 
on  the  fact  that  as  the  aperture  is  reduced  the  image 
on  the  film  becomes  more  sharply  focused.  We  have 
all  seen  images  on  the  screen  which  were  slightly 
blurred  and  indistinct.  This  fuzziness  may  be  caused 
by  several  factors,  one  of  which  is  the  use  of  too  large 
a  lens  stop  or  diaphragm  opening.  The  diaphragm 
openings  may  be  graduated  in  figures  such  as  16,  11. 
5.5, 4, 3.5,  2.8,  2, 1.9,  and  1,3,  the  larger  figures  referring 
to  the  smaller  apertures  and  vice  versa.  By  using  more 
illumination  and  a  stop  opening  of  3.5  or  4.5  rather 
than  a  stop  of  1.3,  1.5,  or  2,  with  a  w^eak  light  source, 
we  will  always  obtain  a  sharper  image  on  the  film.  In 
other  words,  we  should  alter  the  illumination  to  agree 
with  the  stop  used,  rather  than  alter  the  diaphragm  to 
suit  the  intensity  of  the  light. 

How  the  reduction  of  the  diaphragm  opening  in- 
fluences the  depth  of  focus  and  how  these  factors  all 
entered  into  the  shooting  of  the  veterinary  films  will 
be  discussed  in  the  artcle  to  follow  next  month.  The 
very  important  ])art  illumination  plays  in  the  artistic 
angle  of  motion  picture  photography  will  also  be  con- 
sidered. 


ebruary,  1936 


Page  63 


An  Integral  Part  of  Modern  Teaching 


1 


■^r  ^W* 


O 


A  -.^fi" 


aboul 


Eastman  Classroom  Films 
have  proved  their  worth 

IN  the  years  immediately  following  the  first 
announcement  of  Eastman  Classroom  Films, 
educators  in  scores  of  cities  and  towns  put  these 
dynamic  visual  aids  to  work  in  their  schools. 

Many  other  communities  were  eager  to  follow 
suit,  but  were  prevented  from  doing  so  by  eco- 
nomic conditions.  They  did  not,  however,  forget 
Eastman  Classroom  Films.  They  did  not  lose 
sight  of  the  fact  that  motion  pictures  have  a  vital 
contribution  to  make  to  education,  and  that 
Eastman  Classroom  Films  were  daily  proving 
their  worth  by  making  such  a  contribution. 

Now  the  tide  is  turning.  Many  school  systems 
long  ago  convinced  of  the  value  of  these  films, 
but  obliged  to  defer  purchases,  are  now  acquir- 
ing them.  Other  systems  are  ordering  replace- 
ment lots,  the  original  reels  having  been  com- 
pletely worn  out,  like  much-used  books,  by  years 
of  constant  showing.  Schools  bought  almost 
twice  as  many  films  in  1935  as  they  did  in  1934. 

Thus,  in  1936  .  . .  more  than  in  any  previous 


*°'       ._,naassroo 


^  ^'^"f countries-  ^.are^o' 

30  foreign  cou      ^^^^^^  svsw»*  »  ,,^^1 


*  ^'^^    "countries-  ^.are^ow 

30  foreign -°^^„oisVSte'^*^^,,^an 
SeveraUarge;.^    orig-»^„(,,eadv, 
3   repUcin^jt-o-^VVe-^ 

^"""trsthere---!    the-- 
*Cu\So.^-:;rpre.--• 
over200,'"»^         ^^^^^^^    - 


year . . .  Eastman  Classroom  Films  are  an  integral 
part  of  modern  teaching.  This  is  good  news  for 
educators,  because  a  substantial  increase  in  the 
use  of  teaching  films  is  a  significant  signal  of 
progress  achieved  in  visual  instruction,  and  a 
promise  of  further  advances  in  the  future. 

You  are  cordially  invited  to  investigate  the 
merits  of  the  more  than  200  Eastman  Classroom 
Films  now  available.  For  full  information,  address 
Eastman  Kodak  Company,  Teaching  Films  Di- 
vision, Rochester,  N.  Y. 


Page  64 


The  Educational  Screen 


Among  the  Producers 


Additions  to  SVE  Filmslide  Library 

The  Society  for  Visual  Education  is  constantly  add- 
ing new  and  interesting  material  to  its  extensive  li- 
brary of  Picturols  and  filmslides,  which  includes  not 
only  material  produced  by  the  Society  but  also  the 
product  of  other  concerns  well  known  in  the  visual 
field.  Among  the  latest  educational  film  sets  to  be 
announced  by  this  library  is  Nature  Study  Illustrated, 
a  set  of  35  rolls  on  Biology,  Botany,  Nature  Study, 
General  Science,  and  Zoology,  compiled  by  Gayle 
Pickwell,  Ph.D.,  Professor,  Editor  and  Author.  A 
most  timely  subject  is  covered  in  the  complete  set  on 
Aircraft  (30  rolls),  arranged  and  edited  by  Guy  Gar- 
rard, Science  Instructor  and  Roy  Cross,  Aviation  In- 
structor. They  are  also  offering  a  new  set  on  Funda- 
mental Chemistry  (10  rolls),  edited  by  Evans  W. 
Buskett,  Chemistry  Instructor. 

While  the  Society  has  not  undertaken  the  produc- 
tion of  religious  films,  it  has  always  sponsored  all 
those  available  and  maintains  a  full  library.  Their 
catalog  of  religious  film-slides  contains  a  wealth  of  il- 
lustrative material  including  every  great  religious 
painting,  and  thousands  of  pictures  giving  complete 
geography  of  the  Holy  Land.  Many  special  sets  have 
been  compiled  to  fit  the  particular  instructional  needs 
of  various  denominations,  parochial  and  Sunday 
schools.  New  groups  are  now  available  on  Temper- 
ance (6  rolls).  The  Crusades,  Hymns,  Christmas  and 
Easter,  Episcopal  Education  (7  rolls),  and  Catholic 
Films. 

Catalogs  of  the  SVE  educational  and  religious  film- 
slides  are  available  free  of  charge  upon  request  to  the 
Society  for  Visual  Education,  Chicago. 

DeVry  Welcomes  Visitors  at  N.E.A. 

Herman  A.  DeVry,  Inc.,  have  retained  two  ad- 
joining booths  (A-11  and  A-12)  at  the  St.  Louis 
meeting  of  the  N.E.A.  so  that  there  will  be  ample 
room  for  inspecting  the  DeVry  Line  and  conferring 
with  DeVry  representatives  on  Visual  Education 
plans.  The  new  16mm.  Sprocket  Intermittent 
Sound  Projector  will  be  on  display  and  comparisons 
made  between  the  new  movement  and  the  prevail- 
ing claw  type  movement. 

1936  DeVry  Annual  Conference 

The  Resolutions  Committee  of  the  DeVry  Sum- 
mer School  of  Visual  Education  last  June  voted  to 
change  the  name  to  Conference,  as  being  more  in 
keeping  with  the  programs  presented.  To  this 
designation,  the  DeVry  organization  adds  the 
phrase  Film  Exhibition,  as  the  film  showings  of 
industrial  and  educational  subjects  have  become  a 
very  popular  feature  of  the  annual  gathering — par- 
ticularly to  advertising  men  and  teachers.  The 
tentative  dates  this  year  will  be  June  29  to  July  3. 


Where  the  commercial  firms — whose  activities  have  an 
important  bearing  on  progress  in  the  visual  field — 
are  free  to  tell  their  story  in  their  own  words.  The 
Educational  Screen  is  glad  to  reprint  here,  within  nec- 
essary space  limitations,  such  material  as  seems  to  have 
most    informational    and    news    value    to    our    readers. 


Sound  System  Offers  New  Features 

A  new  Program  Sound  System  embodying  unique 
advantages  for  sizeable  school  buildings  has  been  in- 
troduced by  the  Western  Electric  Company.  The 
system  has  been  designed  by  Bell  Telephone  Labora- 
tories for  distributing  programs  from  microphones, 
from  radio  receivers  or  from  phonograph  records  and 
is  wholly  operated  from  a  single  cabinet.  In  the  cabi- 
net are  centered  all  controls,  the  flexible  switching 
arrangements,  a  radio  receiver,  an  electric  phonograph, 
amplifying  equipment  and  a  combination  loudspeaker 
and  microphone   device. 

One  feature  of  the  system  is  that  it  provides  "talk- 
back"  facilities.  Sound  not  only  may  be  sent  out  for 
reproduction  over  distant  loudspeakers  but  the  same 
loudspeakers  may  in  turn  be  used  as  microphones  for 
picking  up  sound  which  is  transmitted  back  to  the 
central  point.     This  feature  offers  the  school  principal 


B^S 

Kf   ^^Smmm^  ^ 

ite.Kr.  • 

1 

^^fe 

The  Sound  System  in  Operation  in  a  School 

a  means  of  overhearing  in  the  central  office  what  is 
happening  in  any  class  room. 

As  an  aid  in  teaching  music  and  the  languages,  the 
sound  system  brings  special  recordings  right  to  the 
classroom,  as  well  as  providing  distribution  of  radio 
programs  throughout  the  building.  Announcements 
may  be  made  and  fire  drills  directed  from  the  prin- 
cipal's office.  Music  may  be  furnished  for  gatherings 
in  the  auditorium,  and  the  amplifying  facilities  may 
be  employed  to  reinforce  speakers'  voices. 

Two  variations  of  the  program  sound  system  are 
available,  the  first  arrangement  providing  for  a  single 
program,  and  the  second  for  the  choice  of  two  simul- 
taneous programs.  In  the  first  case,  one  amplifier  and 
in  the  second,  two  are  used. 


'earuary,  1936 


Page  65 


The       DA-LITE 
CHALLENGER 

is  made  in  several  sizes  from 
30"  X  40"  up  to  and  including 
70"  X  94".  Screen  surface  is 
beaded  unless  otherwise  specified. 


A  Versatile  Helper 
in  Visual  Education 


In  many  schools,  where  visual  aids  are  employed,  the  Da-Lite 
Challenger  Screen  puts  in  a  busy  day. 

Because  of  its  light  weight  and  compact  construction,  the 
Challenger  can  be  moved  easily  from  room  to  room  .  .  .  helping 
the  geography  teacher  with  movies  of  foreign  countries  and  then 
going  to  the  botany  class  to  illustrate  plant  life  with  slides.  Wherever 
used,  the  Challenger  Screen  provides  efficient  reflection  of  light, 
assuring  bright,  sharply  defined  movies  or  stills. 

The  Challenger  has  a  tripod  attached  to  the  case  in  which  the 
screen  is  mounted.  It  can  be  set  up  quickly  and  solves  the  problem 
of  where  to  show  pictures.  The  Da-Lite  line  includes  all  types  of 
screens  for  every  school  requirement.  Ask  your  dealer  about  Da-Lite 
Screens  or  write  for  full  details. 


DA-LITE    SCREEN    CO.,    INC. 

2723  N.  Crawford  Ave.  Chicago,  III. 

Quality    Screens    for    More    Than    a    Quarter    Century 


Da-Lite  Screens 


AND    MOVIE 
ACCESSORIES 


TO  ALL  PROGRESSIVE  EDUCATORS: 

It  is  a  pleasure  to  present  to  you  and  to  invite  your  support  of  the  following  VISUAL  EDUCATION  CREED: 

1)  We  believe  educational  films  are  of  the  utmost  value  in  the  classroom,  in  the  hands  of  the  class- 
room teacher,  and  should  be  selected  in  advance  for  the  entire  school  year. 

2)  We  believe  full  knowledge  of  educational  films  thus  to  be  used  should  be  supplied  classroom  teach- 
ers by  the  time  schools  open  in  September,  making  thorough  preparation  possible. 

3)  We  believe,  in  spite  of  the  unquestioned  value  of  and  present  day  interest  in  sound  films,  silent 
16  mm.  films  are  better  adapted  to  the  teaching  process  in  the  classroom, — ^where  the  teacher  and 
pupils  do  the  talking. 

4)  We  believe  educational  films  have  a  place  in  a  school  because  of  their  own  intrinsic  values,  even  if 
they  are  not  correlated  with  a  set  teaching  program  or  text  book;  they  furnish  vicarious  experience 
of  the  highest  type. 

5)  We  believe  many  if  not  most  educational  films  have  independent  values  in  different  teaching  levels 
and  with  different  classroom  subjects. 

6)  We  believe  the  time  has  come  when  we  should  stop  talking  about  "the  great  future  of  Visual  Edu- 
cation", and  should  realize  it  is  now  a  vital  contribution  to  better  teaching  in  every  school. 

7)  We  believe  it  is  possible  to  supply  a  year's  service  in  educational  films,  including  a  projector,  at  a 
rental  charge  so  low  that  the  smallest  school  can  afford  the  service. 

Please  read  thoughtfully  these  seven  articles  of  our  creed,  then  write  us  for  sample  yestrly  circuit  schedules  to 
see  whether  the  service  we  have  been  offering  during  the  past  five  years  and  which  we  shall  continue  to  offer  in 
greater  degree  and  to  increasing  hundreds  of  schools,  is  in  direct  harmony  with  this  creed. 

Within  the  next  few  weeks  one  of  our  organizers  will  call  to  see  you  with  the  hope  ttiat  you  will  want  to  have 
your  school  also  included  in  one  of  our  circuits.  '      ^    ! 

WM.    H.    DUDLEY    VISUAL    EDUCATION    SERVICE,    INC. 

736  SO.  WABASH  AVENUE,  CHICAGO,  ILL. 


Page  66 


The  Educational  Screen 


IN  SIGHT 


IN  MIND! 


•  Education  marches 
forward ! 

•  Visual  instruction 
advances  on  a  vocal 
stepping-stone. 

•  UNIVERSAL  with  a 
leader's  background 
of  fifteen  years  of  non- 
theatrical  service,  leaps 
ahead  of  the  times! 

•  What  are  your 
needs? . .  .  Geographi- 
cal subjects,  musical, 
historical,  current 
events,  cartoon  come- 
dies, feature-length 
motion  pictures?  .  .  . 
Consult  UNIVERSAL! 

Write  for  further 
information  to 

NON-THEATRICAL  DEPARTMENT 

Universal  Pictures 
Corporation 


ROCKEFELLER  CENTER 


NEW  YORK.  N.  Y. 


New  Distribution  Plan  for  Gutlohn  Films 

Walter  O.  Gutlohn,  Inc..  through  its  Sales  Manager, 
Harry  A.  Kapit,  makes  announcement  of  a  new  plan 
for  distribution  of  its  16  mm.  sound-on-film  subjects 
by  which  they  will  establish  libraries  in  school  dis- 
tricts throughout  the  country  for  the  convenience  of 
schools  in  these  districts.  The  development  of  these 
local  film  libraries,  imder  the  supervision  of  school 
authorities,  will  enable  schools  to  purchase  or  rent 
films  at  very  nominal  cost,  because  of  the  reduced 
distribution  expense,  so  that  even  schools  with  verv 
limited  funds  can  take  advantage  of  the  service. 
The  Gutlohn  library  contains  many  educational  and 
recreational  films,  and  there  is  in  preparation  a  num- 
ber of  new  subjects  on  Nature  Study,  Literature, 
Alusic  Appreciation,  Natural  Science.  Industry  and 
Travel. 

Revised  Victor  Directory 

The  Fifth  l^evised  Edition  of  the  Victor  Directory 
of  16mm  Film  Sources,  Silent  and  Sound-on-Film, 
makes  its  appearance  after  a  publication  lapse  of  ap- 
proximately two  years.  Although  designated  as  a 
revised  edition,  this  new  booklet  is,  in  fact,  a  com- 
pletely new  work.  In  addition  to  an  increased  num- 
ber of  source  listings,  it  includes  a  new  section  of  16 
pages  devoted  to  helpful  information  and  data.  The 
directory  is  distributed  free  of  charge  to  present  and 
prospective  owners  of  16mm  equipment  on  recjuest. 
Free  distribution  is  limited  to  one  copy  per  person. 
Additional  copies  will  be  supplied  at  fifty  cents  each. 

Export  Manager  Tours  Orient 

On  his  tour  through  the  Orient,  ^Ir.  A.  E.  Aleyer, 
export  manager  of  the  International  Projector  Cor- 
poration, emphasized  the  value  of  educational  films. 
An  interesting  account  of  his  visit  to  Shanghai  appears 
in  the  Shanghai  Evening  Post  and  Mercury,  together 
with  some  of  Mr.  Meyer's  remarks. 

''The  time  is  coming  when  entertainment  films  will 
run  a  very  poor  second  to  those  for  education  and 
propaganda,"  declared  Mr.  A.  E.  Meyer. 

After  visiting  India,  where  he  found  great  progress 
in  development  of  a  native  motion  picture  industry, 
Mr.  Meyer  believes  that  China  still  has  a  long  way  to 
go  in  that  field. 

In  the  United  States,  "pictures  are  being  used  for 
propagandist  and  educational  purposes.  And  the  Chi- 
nese government  should  also  make  use  of  them  that 
way,"  he  contended,  adding  that  the  Central  Govern- 
ment at  Nanking  was  alive  to  this  and  had  placed  an 
order  for  44  portable  sound  projectors. 

"The  field  of  visual  education  has  barely  been 
scratched,"  remarked  Mr.  Meyer.  "The  teaching  pro- 
fession has  not  yet  fully  realized  that  this  is  an  aux- 
iliary rather  than  a  substitute  for  their  work,  and  can 
be  used  to  make  the  lessons  easier  to  assimilate." 

The  purpose  of  Mr.  Meyer's  trip  was  to  visit  his  com- 
pany's representatives  abroad,  and  make  them  familial 
with  recently  improved  Simplex  projectors. 


y  v_t  ^'  crtov^    (/^ 


COMBINED  WITH 


Visual  Instruction  News 


CONTENTS 

Papers  jrom  'Stt.  Louis  Meeting  of 
The  Department  of  Visual  Instruction 

Some  Unsolved  Problems  in  the  Development 
of  Visual  Education 

Preparing  Teachers  in  the  Use  oF 
Visual-Sensory  Aids 

The  Sound  Film  as  a  Teaching  Aid 

The  American  Film  Institute 

Teaching  Safety  Through  Visual  Education 

What  Next  in  Visual  Education? 


Single      Copies      25c 
•  $2.00    a    Year  • 


MARCH 


1936 


No  ^Theatre  h 


IS 


Befteirfhan  ik  Prmecfioifi 


INTERNATIONAL  PROJECTOR  CORPORATION 

88-96    GOLD     ST.  NEW     YORK,  N.Y. 


Page  71 


A  S  was  done  for  the  Denver  nieeting- 
of  the  Department  of  Visual  Instruc- 
tion last  July,  The  Educational 
ScRKEN  again  undertakes  to  reprint  all 
pa])ers  jiresented  at  the  recent  St.  Louis 
iTieetint,^  This  reprinting  will  not  only 
serve  somewhat  as  printed  "Proceedings" 
but  will  multiply  the  audience  for  these 
papers  more  than  a  hundred-fold. 

In  this  issue  appear  the  addresses  by 
Anderson,  Yeager,  Power,  Dale,  Stack, 
McClusky;  in  that  order.  April  will  com- 
plete the  reprint  with  papers  by  Baker, 
Betts,  Hansen,  Hoban,  Perrin,  and  the 
Symposium.  Regrettably,  it  is  impos- 
sible to  reprint  discussions  which  arose 
and  comments  which  acc(im]Mnied  the 
showings  of  some  excellent  teaching 
films  such  as  "Sound  Waves  and  their 
Sources",  "Volcanoes  in  Action"  (Chi- 
cago-Er])i),  "London"  (Eastman  Teach- 
ing), "Reproduction  in  Plants  and  Low- 
er Animals"  (Hell  and  Howell),  and 
"Cheeka",  the  skilfully  re-edited  school 
version  of  "The  Silent  Enemy"  (Ed- 
wards). 

A  I'URTHER  word  is  in  order  regard- 
ing the  first  address  mentioned 
above.  This  conci.se,  trenchant  and 
clear-visioned  analysis  of  the  future  of 
visual  education  was  first  given  by  Dean 
C.  J.  Anderson  of  the  University  of  Wis- 
consin as  a  luncheon  talk  during  the  re- 
cent Visual  Instruction  Institute  con- 
ducted by  J.  E.  Hansen  at  Madison. 
Dean  Anderson,  desjiite  his  terrifically 
crowded  schedule  just  preceding  the  St. 
Louis  meetings,  graciously  agreed  to  get 
his  words  down  on  paper  while  the  train 
was  carrying  him  from  Madison  to  St. 
Louis.  The  valued  manuscri])!  reached 
visual  headtjuarters  in  good  time  but  to 
find  place  for  reading  it  on  the  program 
proved  impossible.  Reprinting  here, 
however,  ]nits  this  significant  utterance 
within  permanent  reference  reach  of  the 
entire  educational  field. 


F 


OR  lack  of  space  on  the  D.  V.  I.  page 
this  month,  the  writer  wishes  to  ex- 
press here  both  regret  and  gratitude  re- 
garding the  St.  Louis  meeting.  He  re- 
grets— and  every  member  present  will 
agree — that  the  crowded  jjrogram  de- 
feated several  efforts  for  a  complete  and 
systematic  tour  of  the  justly  famous  St. 
Louis  Educational  Museum  of  which 
Miss  Amelia  Meissner  is  Director.  Many 
missed  seeing  in  fvill  detail  this  splendid 
service  plant,  beautifully  organized,  effi- 
ciently administered,  and  meticulously 
kept.  The  writer  thanks  sincerely — and 
again  all  will  agree — that  same  .\melia 
Meissner  for  her  perfect  achievement 
as  Chairman  of  -Arrangements  for  the 
annual  meeting. 

Nelson  L.  Greene. 


Educational    Screen 

Combined     with 

Visual     Instruction     News 


MARCH,   1936 

VOLUME     XV  NUMBER     3 


CONTENTS 

Some  Unsolved  Problems  in  the  Development  of  Visual 

Education.     J.  C.  Anderson 73 

Preparing  Teachers  in  the  Use  of  Visual-Sensory  Aids. 

Vv'illiam   A.  Yeager - 74 

The  Sound  Film  as  a  Teaching  Aid.    Leonard  Power 77 

The  American  Film  Institute,     Edgar  Dale.—. 79 

Teaching  Safety  Through  Visual  Education. 

Herbert  J.  Stack -  82 

Vv^hat  Next  in  Visual  Education?   F.  Dean  McClusky. 84 

Department  of  Visual  Instruction. 

Conducted  by  E.  C.  Vv'aggoner .-  85 

The   Film   Estimates .- - — -  86 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 87 

The  Church  Field.   Conducted  by  Mary  Beattie  Brady 88 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis.. 90 

School  Department. 

Conducted  by  Dr.  F.  Dean  McClusky 92 

Current  Film  Releases 96 

Here  They  Are!  A  Trade  Directory  for  the  Visual  Field !00 

Contents  of  previous  issues  listed  in  Education  Index. 


General  and  Editorial  OfFices,  64  East  Lake  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  March,  1935  by  the  Edu- 
cational  Screen,    Inc.      Published    every   month   except  July   and    August. 

$2.00  a  Year         (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 


THE  EDUCATIONAL  SCREEN,  Inc. 

DIRECTORATE  AND  STAFF 


Herbert  E.  Slaught,  Pres. 
Nelson  L  Greene,  Editor 
Ellsworth  C.  Dent 
Evelyn  J.  Baker 
Josephine  Hoffman 


Stanley  R.  Greene 
R.  F.  H.  Johnson 
Marlon  F.  Lanphier 
F.  Dean  McClusky 
Stella  Evelyn  Myers 


Page  72 


The  Educational  Screen 


ffioM  25  nnimRTOPHonE 

BRinG9  HEUI   FRHIE   TO  fl  UIORID-FRHIOUS   nflmE 

©Price  need  no  longer  be  on  obstacle  to  the  enjoyment  of  Quality  sound  picture  reproduction. 
Model  25  Sound-on-Film  ANIMATOPHONE  (for  silent  and  sound  projection)  is  priced  at  only 
$360.00!    In  addition  to  embodying  the  ingenious  simplifications  and  mechanical  superiorities  that 

have  always  been  tradlblonal  with  Victor  Cine  products,  Model  25  has  the  distinction  of  being  the  World's  Smallest  (45  lbs.  total). 
Most  Compact,  and  Lowest  Priced  HIGH  QUALITY  Sound  Picture  Reproducer.  It  Is  the  ONLY  l6mm  sound  projector  that 
may  be  operated  on  D.  C.  as  well  as  A.  C.  without  use  of  converter.  Ask  for  demonstration.  .  .  .  Let  your  own  eyes  and  ears 
prove  that  ANIA\ATOPHONE  25  is  without  rival. 

YicTDB  flnimflTOGRflPH  CD RPD RATIO n-sr.^vr.Ts-.sffi 


March,  1936 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  73 


Some  Unsolved  Problems  in  the  Development  of 
'isudi  Education 


By    C.    J.    ANDERSON 

Dean   School   of  Education,   University  of  Wisconsin.   Madison 


THE  average  educational  generalist  is  no  more 
than  a  lay  observer  when  he  discusses  such  spec- 
ialized fields  as  that  of  Visual  Education.  It  is 
with  this  saving  clause  that  I  comment  upon  what 
seems  to  me  to  be  some  outstanding  and  unsolved 
problems  in  the  field  of  visual  education. 

How  shall  visual  instruction  be  presented  to  the 
teacher  so  that  she  may  be  able  to  use  this  technique 
efficiently?  Several  times  a  year  I  am  asked  to  include 
among  the  offerings  of  the  School  of  Education  of  the 
University  of  Wisconsin  a  course  in  visual  instruc- 
tion. Up  to  the  present  I  have  not  satisfied  this  de- 
mand. I  remember  the  period  when  experimental 
work  of  a  pioneer  type  was  being  carried  on  in  the 
field  of  diagnosis  of  learning  difficulties  and  remedial 
instruction.  The  first  inadequate  experiments  spurred 
on  a  legion  of  investigators  until  quite  a  respectable 
body  of  literature  was  available  in  this  field.  Soon 
courses  in  "Diagnosis  of  Reading  Difficulties,"  "Reme- 
dial Instruction"  and  "Diagnosis"  in  other  fields  began- 
to  appear  among  the  educational  course  offerings  of 
leading  schools  of  education.  Rarely  is  such  a  course 
found  today.  Educators  learned  that  diagnosis  of 
learning  difficulties  was  a  fundamental  and  organic 
part  of  every  course  in  techniques  of  instruction  and 
not  an  appendage  under  a  separate  label.  Today  in  all 
courses  dealing  with  special  or  general  techniques  of 
instruction,  diagnosis  of  learning  difficulties  is  an  inte- 
grated and  essential  unit.  It  occurs  to  me  that  the 
same  course  may  be  followed  in  the  development  of 
visual  instruction  techniques.  If  it  is  an  appendage 
or  merely  a  desirable  "follow-up"  feature  of  instruc- 
tional techni(|ues,  then,  perhaps,  we  should  minimize 
its  contribution  by  offering  it  as  a  "special  course." 
If  it  is  to  become  an  organic  part  of  all  educational 
procedures,  we  must  recognize  this  fact  by  making  it 
an  indispensable  part  of  the  core  courses  in  teacher 
training.  Purely  as  a  temporary  procedure,  however, 
schools  of  education  will  in  all  probability  find  it  nec- 
essary to  differentiate  between  teachers-in-service  and 
teachers-in-training  in  its  provisions  for  inducting 
them  into  this  new  field. 

Perhaps  the  problem  of  reorganization  of  curricula 
on  elementary,  secondary  and  college  levels  transcends 
all  others  in  importance.  Today,  in  large  measure,  the 
contributions  of  visual  instruction  receive  scant  notice 
in  our  curricula.  At  best  they  are  but  thriftily  foot- 
noted as  quasi-entertainment  features  of  an  otherwise 


complete  curriculum.  Considered  in  so  minor  a  way, 
visual  instruction  will  have  little  legitimate  impact 
upon  education.  The  course  of  study  in  every  subject 
of  every  grade  from  kindergarten  through  vmiversity 
must  be  re-examined  and  reconstructed  to  make  place 
for  this  child  of  our  legitimate  affections — not  by 
adding  an  "ell"  or  a  "lean-to"  but  by  an  architectural 
and  building  reconstruction  of  the  entire  edifice.  Some 
work  in  this  direction  has  been  done.  It  has  been 
done  timidly,  apologetically,  and  ineffectually.  A  real 
job  awaits  someone  in  this  field.  The  frame  of  refer- 
ence is  available.     Courageous  builders  are  needed. 

Have  you  ever  considered  how  the  development  of 
visual  instruction  will  affect  the  text-books  on  all  levels  ? 
At  this  time  probably  one  can  only  venture  to  guess  at 
what  will  happen.  Certainly  there  will  be  little  need 
for  the  inadequate  illustrations  of  the  present  day  text 
book.  Quite  as  clear  to  me  is  the  coming  elimination 
of  elaborate  word-pictures  now  necessary  when  one 
travels  in  imagination  by  means  of  a  text  book.  The 
moving  pictures  will  revolutionize  this.  And  if  sound 
accompaniment  in  the  form  of  lectures  is  available,  a 
large  part  of  the  present  day  text-book  may  well  be 
dispensed  with.  The  text-book  may  become  merely  a 
briefed  outline  or  a  pamphlet.  Incidentally,  the  thriv- 
ing industry  of  writing  and  manufacturing  textbooks 
will  not  look  upon  such  a  change  with  any  great  degree 
of  enthusiasm. 

The  final  problem  that  must  be  faced  in  acknowl- 
edging this  educational  child,  Visual  Instruction,  as 
our  own,  is  a  financial  one.  What  will  an  adequate 
and  properly  integrated  program  of  visual  instruction 
cost?  Some  myopic  educators  think  of  this  program 
in  terms  of  one  moving  picture  machine  for  a  school 
system  or  for  a  school  building  with  a  free  or  rental 
film  service  from  the  state.  That  scarcely  scratches 
the  surface.  Children  will  be  taught  to  read  in  part 
through  this  new  technique.  New  steps  of  learning  in 
arithmetic,  correct  language  usage,  literature,  geogra- 
phy, history,  health,  science,  correct  movements  of  the 
arm  in  penmanship — these  are  but  a  random  sampling 
of  the  impact  of  this  field.  A  moving  picture  machine 
in  each  building  ?  How  entirely  inadequate !  There 
must  be  one  in  every  room  from  the  kindergarten  to 
the  graduate  school.  Millions  of  dollars  must  be  spent 
in  research,  in  experimental  work  and  in  the  develop- 
ment of  this  new  curricular  material.    One  must  think 


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in  terms  of  hundreds  of  millions  of  dollars  to  compre- 
hend its  cost.  This  need  not  frighten  educators.  The 
new  contribution  will  be  worth  the  cost.  But  with 
public  schools  competing  with  highway  construction, 
unemployment  insurance,  old  age  pensions,  etc.  for 
public  funds,  and  with  cigarettes,  chewing  gum,  cos- 
metics and  automobiles  for  the  individual's  funds,  the 


cost  of  the  layette  for  this  educational  infant  may  well! 
crease  the  brow  and  whiten  the  hair  of  our  educational] 
administrators.  Along  with  research  and  experimen- 
tation on  the  problems  of  teacher  training,  curriculuml 
and  text-books  should  go  careful  study  of  fiscal  policyj 
and  financial  accounting  in  order  to  make  adequate 
provision  for  visual  education. 


Preparing  Teachers  in  The  Use  of  Visual -Sensory  Aids 

By    DR.    WILLIAM    A.    YEAGER 


JOHN  DEWEY  in  a  recent  address  before  the  National 
Education  Association  made  this  statement,  "Let  me 
say  that  it  would  be  almost  an  educational  revolution 
if  we  were  to  recognize  that  we  live  in  a  changing  social 
order  and  proceed  to  act  upon  that  recognition  in  our 
schools  .  .  .  our  educational  system  has  been  an  edu- 
cation for  a  static,  a  relatively  fixed,  social  order."*  Unfor- 
tunately, many  teachers  now  teaching  in  our  public  schools 
have  been  prepared  in  teacher  training  institutions  in  ac- 
cordance with  an  educational  philosophy  which  has  not 
recognized  this  fundamental  truth.  Classics,  languages,  pol- 
itics of  a  past  age,  even  the  social  studies  themselves  have 
been  studied  with  more  emphasis  upon  what  has  been  and 
with  little  emphasis  to  view  life  as  a  continuous  adjustment 
of  the  dynamic  convulsions  necessarily  present  in  our  im- 
mediate human  relationships.  For  the  most  part,  the  teach- 
ers of  our  secondary  schools  prepared  in  liberal  arts  colleges 
as  well  as  elementary  teachers  prepared  in  normal  schools 
have  been  immersed  in  the  influeAce  of  the  liberal  arts 
tradition. 

The  Dewey  philosophy  of  education  has  been  a  permeating 
force  in  an  unleavened  world.  Actuated  by  these  principles, 
teachers  who  have  really  caught  the  vision  of  an  educational 
process  intertwined  with  life  itself  have  more  recently  been 
guiding  and  directing  boys  and  girls,  actually  educating 
them  with  all  of  the  implications  of  the  term  education. 
Under  dynamic  leadership,  new  patterns  of  an  educational 
process  have  been  cut  along  new  lines, — Winnetka,  Dalton, 
Activity — The  New  Education.  Almost  as  soon  as  formed, 
these  new  educational  patterns  have  been  placed  on  the 
"spot"  by  a  resisting  educational  fraternity  always  looking 
backward.  It  has  been  hard  to  uproot  memorization  of  the 
Constitution,  twenty  lines  a  day  in  Virgil,  a  curriculum 
patterned  to  meet  the  tyranny  of  the  college  entrance  exam- 
ination board,  and  the  teacher  who  boasts  that  she  has  used 
the   same  plan  book,  if  she  ever  had  one,  for  twenty  years. 

But  sudden  realization  often  strikes  hard  and  leaves  an 
unkind  memory.  More  recently,  our  boys  and  girls  just 
didn't  seem  to  fit  into  an  emergency  situation.  We  had 
taught  them  to  idolize  knowledge  for  its  own  sake  and  to 
accept  the  "correct"  views  of  the  master.  The  mental  set 
had  been  formed  which,  alas,  could  not  be  broken.  Crystal- 
lization of  mind  had  taken  place.  The  result  has  been  that 
many  of  our  young  people  entered  a  dynamic  society  "with 
the  attitude  of  wanting  and  expecting  to  be  told,  rather 
than  with  the  attitude  of  realizing  that  they  must  look  into 
things,  must  inquire  and  examine."  It  is  not  to  be  won- 
dered  at   that   the   propagandist   and   the   itching   palm   pre- 


•Dewey,   John,    Education   for  a   Changing   Social   Order.   Xatiitunl  Edu 
cation  AHHiiciaiion  Prod'ttUngs,  1934.  Page   745. 


Professor   of   School    Administration,    University   of   PittsburgbJ 
Pittsburgh,   Pennsylvania 

sumed  upon  the  gullibility  of  our  educational  product  until; 
the  stock  market  broke. 

In  view  of  the  fact  that  the  public  schools  demand  the 
time  of  our  boys  and  girls  during  their  educational  careers, 
the  responsibility,  much  more  the  opportunity,  rests  upon 
those  directing  their  educational  careers  to  meet  the  chal- 
lenge of  a  changing  social  order.  The  teacher  must  as- 
sume this  responsibility.  She  must  assume  the  task  of  as- 
sisting the  child  to  adjust  himself  each  day  more  adequately 
to  changing  life  situations.  Again  to  quote  Dr.  Dewey, 
"Education  for  a  changing  social  order  must  be  based  on  an 
understanding  of  the  facts  of  the  changes  that  are  going 
on,  and  especially  an  insight  into  the  causes  that  are  pro- 
ducing these  changes, — the  forces  that  are  at  work." 

If  we  accept,  then,  the  statement  that  the  teacher  becomes 
the  pivotal  agent  upon  whom  this  responsibility  rests,  her 
preparation  and  philosophy  of  education  must  be  directed 
toward  this  common  purpose. 

Our  problem  concerns  the  preparation  of  two  types  of 
teachers,  first,  those  who  are  now  in  our  teacher  training 
institutions  and  have  not  as  yet  begun  their  teaching  car- 
eers, young,  ambitious,  susceptible  to  new  ideas  and  ideals, 
for  the  most  part  anxious  to  make  good  by  improving  upon 
learned  educational  patterns  and  by  testing  out  new  learned 
ideas ;  and,  second,  the  in-service  teachers,  those  of  all 
ages,  philosophies,  and  habits  of  mind,  many  of  them  con- 
vinced that  there  is  only  one  way  to  teach,  the  one  the 
have  been  using  for  the  past  ten  or  twenty  years,  namely, 
verbalistic  teaching,  if  such  can  be  glorified  as  teaching. 
School  systems  are  composed  of  all  types.  All  children  are 
entitled  to  the  best  teachers  available. 

The  conception  of  education  as  adjustment  to  and  re-liv- 
ing of  life  experiences  brings  us  to  the  problem  of  the  nir 
efficient  method  by  which  this  educational  process  can  le 
accomplished.  Life  can  become  rich  and  full  only  to  the 
degree  that  the  environment  in  which  we  live  can  be  un- 
derstood and  appreciated.  Sensory  experiences  constitute 
the  basis  of  the  child's  educational  pattern.  The  eye,  the 
ear,  the  sense  of  touch,  the  emotional  reactions  to  daily 
experiences,  are  the  warp  and  woof  of  the  pattern.  Some 
one  has  said  that  "seeing  experiences"  has  always  been 
man's  simplest  and  most  natural  means  of  gaining  informa- 
tion. Visual  education  as  commonly  conceived  includes 
more  than  experiences  gained  through  the  eye;  although  it 
is  now  commonly  admitted  that  visual  experiences  account 
for  probably  three-fourths  of  our  sensory  experiences  and 
the  term  sensory  aids  as  including  those  aids  which  con- 
tribute to  this  end.  It  is  unfortunate  that  visual  education 
has  become  associated  among  many   folks  with  "seeing  ex- 


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Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  75 


iriences"  alone,  when  in  reality  it  includes  all  sensory  ex- 
leriences.  Educators  are  waiting  for  an  individual  who 
can  coin   a  more   inclusive  and  appropriate  term  to  fit  this 

i ought  than  the  term  visual  education. 
For  several  years,  the  Commonwealth  of  Pennsylvania 
IS  recognized  these  larger  implications  of  educational  de- 
Jopment  through  sensory  experience.  In  response  to  the 
iphasis  placed  upon  visual-sensory  aids  as  invaluable  in 
e  teaching  process,  courses  in  visual  education  were  orga- 
nized in  all  state  teachers  colleges  and  in  many  colleges  and 
universities  devoted  in  part  to  teacher  education.  The  re- 
sponse to  these  courses  and  the  favorable  recognition  given 
to  the  outcome  of  this  newer  emphasis  prompted  the  State 
Council  of  Education  of  Pennsylvania  to  require  the  com- 
pletion of  a  course  in  visual  education  of  all  persons  to 
whom  shall  be  issued  a  permanent  college  certificate  after 
September,  1935.  Teachers  may  complete  this  required 
course  either  as  a  part  of  their  pre-service  education,  or 
as  a  part  of  the  six  semester  hours  required  to  be  com- 
pleted subsequent  to  the  issue  of  the  provisional  college 
certificate,  in  order  to  make  this  certificate  permanent. 

In  response,  then,  to  this  action  of  the  State  Council  of 
Education,  a  course  in  visual  education  was  organized  and 
offered  at  the  University  of  Pittsburgh  during  the  1935 
summer  session  on  an  undergraduate  basis.  Forty-five 
teachers  in  service  were  enrolled  in  this  class.  It  was 
given  in  the  Frick  Training  School  adjoining  the  University 
under  conditions  which  were  all  that  could  be  desired.  Both 
class  and  laboratory  work  were  included.  The  class  met 
on  Monday,  Tuesday,  Thursday  and  Friday  for  an  hour  each 
morning  in  a  regular  classroom,  and  on  Wednesday  after- 
noons for  two  hours  in  a  large  adjoining  art  room  with 
appropriate  tables  and  other  equipment  for  laboratory  pur- 
poses. Two  semester  hours  credit  were  given  for  the  six 
weeks  course.  During  the  first  semester  of  1935-36,  the 
course  in  visual  education  was  given  to  juniors  and  seniors 
of  the  School  of  Education  on  a  similar  basis.  Each  of 
two  sections,  approximately  thirty-five  in  each  section,  met 
for  two  one-hour  periods  weekly  for  class  purposes  and 
seven  two-hour  afternoon  periods  for  laboratory  work  for 
a  semester.  These  two  opportunities  have  enabled  the  writer 
to  study  the  problem  and  adaptation  of  this  course  both  to 
teachers  in  service  as  well   as  prospective  teachers. 

A  previously  prepared  syllabus  and  study  outline  based 
in  part  upon  the  suggested  outline  prepared  by  the  State 
Department  of  Public  Instruction  constituted  the  work  of 
the  course.  A  brief  introduction  to  the  psychological  im- 
plications of  visual  education  and  visual-sensory  aids  was 
given  by  a  member  of  the  staff  in  psychology.  The  follow- 
ing units  of  work  were  taken  up  in  turn : 

I.  Psychological   Aspects   of   Visual-Sensory   .Mds 
II.  Types   of  Visual-Sensory   Aids — (A) 

A.  The  Blackboard 

B.  Pictorial  and  Graphic  Aids 

1.  Pictorial   Materials  of  all  types 

2.  Representative  Materials  (including  drawings, 
sketches,  charts,  graphs,  diagrams,  posters,  car- 
toons, maps,  and  globes) 

3.  Photography — The  Camera 

4.  Classroom  procedures 

C.  The  Stereograph — The  Third  Dimension 

D.  Aids    for    Presenting,    Displaying,    and    Preserving 
Pictorial  Materials  and  Graphic  Aids 

1.  The  Stereoscope 

2.  The  Bulletin  Board 

3.  The    Booklet — Album 

4.  The  Opaque  Projector 

5.  Duplicating   Devices 

6.  Filing  Systems 


III.  Some  Stimulus  Response  Conditions  Which  Affect  the 

Efficiency  of  Visual-Sensory  Aids 
IV.  Types  of  Visual-Sensory  Aids — (B) 

A.  The  Object — Specimen — Model 

B.  The  Exhibit 

C.  The   Sand  Table — Projects   in   miniature 

D.  Floor   and    Room    Representations   —    Projects     of 

Larger  Scope 

E.  The  Museum 

V.  Types  of  Visual-Sensory  .'\ids — (C) 

A.  The   School  Journey — Excursion — Field  Trip 
VI.  Types    of    Visual-Sensory    .'Mds — (D) — Dramatizations 

A.  Simple   Dramatizations — Dramatic   Interpretations 

B.  The  Puppet — Marionette 

C.  The  Pageant 

VII.  Types    of    Visual-Sensory     .Mds — (E) — Still      Picture 

Projection 

A.  The  Lantern  Slide — Making  Lantern   Slides 

B.  Types  of  Projection — Mechanics  and  Application 

1.  The   Stereopticon 

2.  The  Balopticon  or  Opaque  Projector 

3.  The  Still  Film  Slide  and  Strip 

4.  Stereopticon  .Attachment   for   Projecting  Micro- 
scopic  Slides 

VIII.  Types  , of   Visual-Sensory    Aids — (F) — Motion    Picture 

Projection 

A.  Development  of  the  Motion  Picture 

B.  The  Mechanics  of  the  Motion   Picture 

C.  The  Motion  Picture  as  an  Extra-school  Education- 
al Institution 

D.  The  Motion  Picture  in  the  Public  School 

E.  Using  the  Motion  Picture  in  the  Classroom 
IX.  Radio  and  Sound  Equipment 

A.  Development  of  the  Radio 

B.  The  Radio  in  the  Clasroom — Radio  Programs 

C.  Other  Sound    Equipment    as  Victrola,    Public  Ad- 
dress  Systems,  Recording  Systems 

X.  Television 

A.  Development   and   Principles  of  Television 

B.  Television  as  a  Possible  Future  Classroom  Educa- 
tional Aid 

XI.  Research 

A.  Contributions  in  the  Field  of  Visual  Education  and 
Significance  to  Teachers 
XII.  Organization  of  a  Visual  Education  Department 

A.  Nature   of   Organization   for   Towns   and   Cities   of 
Different   Sizes 

B.  Personnel 

C.  Services 

D.  Sources  of  Materials  Available  to  Teachers 

The  principles  and  applications  of  each  of  the  several 
types  of  visual-sensory  aids  as  outlined  above  were  pre- 
sented and  discussed  in  the  morning  class  period.  The  af- 
ternoon laboratory  periods  were  given  over  to  demonstra- 
tion and  further  application  to  classroom  situations.  Com- 
mittees were  organized  to  whom  were  assigned  the  problem 
of  preparing  class  presentations  of  each  type  of  visual-sen- 
sory aid,  constructing  or  developing  the  necessary  material 
and  applying  it  to  given  classroom  situations,  both  on  the 
elementary  as  well  as  the  secondary  levels  of  instruction. 
From  two  to  four  persons  constituted  a  committee.  The 
cartoon  committee  drew  cartoons  or  collected  them  from 
newspapers  and  n-agazines  and  demonstrated  their  values 
and  use  as  teaching  aids.  The  puppet  committee  constructed 
all  types  of  puppets  and  marionettes,  wrote  a  play  or  dram- 
atized a  lesson  showing  their  possibilities  as  teaching  aids. 
The  object-specimen-model-committee  made  and  collected 
an  exhibit  of  each  of  these  types.  The  photography  com- 
mittee took  pictures  and  demonstrated  the  use  of  the  cam- 


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era  in  teaching.  A  school  journey  was  made  to  the  Carnegie 
Museum  and  Art  Exhibit.  All  types  of  home  made  slides 
were  made  and  demonstrated.  A  radio  brought  in  available 
programs  which  were  evaluated  in  terms  of  classroom  pos- 
sibilities. Every  member  of  the  class  was  required  to  learn 
to  operate  three  diflferent  makes  of  16mni.  motion  picture 
projectors.  As  a  result,  all  members  of  the  class  qualified 
for  the  state  license  for  non-theatrical  motion  picture  pro- 
jection. These  illustrate  but  a  few  of  the  laboratory  pro- 
cedures. 

The  construction  of  a  booklet  comprised  the  final  test  of 
the  course.  Each  student  was  required  to  apply  as  many  of 
the  several  visual-sensory  aids  discussed  to  a  particular 
subject  or  grade  level,  such  as  French,  Health,  Second  Grade, 
etc.  The  interest  of  the  students  in  the  construction  of 
these  booklets  was  impressive.  By  this  means  they  were 
able  to  select  the  aids  best  adapted  to  the  particular  field 
or  grade  level  which  they  expected  to  teach  and  to  evaluate 
their  possibilities  in  the  light  of  the  aims  and  content  ma- 
terial to  be  included. 

The  visual  education  exhibit  marked  the  climax  of  the 
course.  An  exhibit  committee  had  been  named  earlier  in  the 
semester.  Since  this  exhibit  was  organized  around  each  of 
the  several  types  of  visual-sensory  aids,  each  laboratory 
committee  mentioned  above  was  expected  to  prepare  all 
material  for  their  particular  section.  The  central  exhibit 
committee  then  arranged  the  aids  and  materials  as  thus  pre- 
pared. Two  large  classrooms  were  necessary  to  house  the 
exhibits.  Invitations  were  extended  to  all  students  and  the 
public  to  attend.  Local  newspaper  reporters  visited  the 
rooms,  took  several  pictures  of  the  exhibit,  and  gave  gen- 
erous space  in  their  publications.  Several  hundred  persons 
viewed  the  exhibit  during  a  three  day  period,  members  of 
the  class  acting  as  hosts  and  hostesses  and  explaining  and 
demonstrating  the  visual-sensory  aids  on  exhibition. 

In  developing  this  course,  we  have  been  ever  mindful  of 
the  philosophy  indicated  at  the  outset.  Students  learned  by 
doing.  Each  visual-sensory  aid  was  presented  with  its 
practical  applications  to  classroom  situations.  Classroom 
and  laboratory  discussions  and  demonstrations  had  to  meet 
this  acid  test. 

Mention  should  be  made  here  as  to  the  necessity  for  ade- 
quate equipment  for  the  proper  conduct  of  a  course  in  vis- 
ual education.  The  course  should  not  be  attempted  unless 
adequate  equipment  and  materials  are  either  immediately 
available  or  can  be  secured  as  needed. 

While  all  educators  may  be  said  to  be  in  agreement  con- 
cerning the  importance  of  educating  both  pre-service  and 
in-service  teachers  in  the  use  of  visual-sensory  aids  in  the 
educational  process,  there  is  by  no  means  common  agree- 
ment as  to  the  manner  in  which  these  aids  shall  be  taught. 
Many  educators  of  teachers  believe  with  strong  conviction 
that  the  philosophy  and  content  of  a  course  in  visual- 
sensory  aids  should  be  taught  in  connection  with  methods 
or  in  other  education  courses  of  the  curriculum.  These  edu- 
cators feel  that  a  separate  course  in  visual  education  merely 
duplicates  material  taught  in  these  method  courses  and 
brings  about  an  overemphasis  upon  what  good  teachers  will 
be  doing  anyway.  If  one  could  be  sure  that  this  is  really 
done  as  contended,  one  would  have  to  agree.  However,  the 
chief  argument  in  favor  of  a  required  course  in  visual  edu- 
cation is  that  every  prospective  and  in-service  teacher 
should  be  brought  in  direct  contact  through  participation 
and  application  with  visual-sensory  aids  developed  sequen- 
tially and  practically  applied.  There  is  a  conscious  effort 
to  emphasize  and  evaluate  them  as  educational  tools. 

The  bibliography   in   the   field  of  visual   education   is   rich 


especially  in  recent  material.  In  addition  to  three  excellent 
books  which  may  be  used  as  basic  texts  or  books  of  refer- 
ence, the  Education  Index  for  1932-35  lists  by  actual  count 
148  specific  references  on  the  subject,  not  including  biblio- 
graphies referred  to  and  many  other  cross  references.  The 
Educational  Screen  which  is  entirely  devoted  to  this  sub- 
ject is  rich  in  current  reference  material.  Many  other  maga- 
zines contain  articles  and  items  of  interest.  State  Depart- 
ments of  Public  Instruction  now  have  departments  or  di- 
visions organized  and  devoted  to  visual  education.  Insti- 
tutions of  higher  education  have  organized  similar  depart- 
ments and  offer  visual-sensory  aid  service  to  neighboring 
school  districts.  State  and  University  museums  are  devel- 
oping a  highly  important  service.  A  considerable  number 
of  theses  and  dissertations  have  recently  appeared  or  are 
in  progress.  In  a  number  of  places,  interesting  researches 
are  being  carried  on,  indicating  a  lively  interest  in  the  sub- 
ject. Special  mention  should  be  made  of  the  vast  amount 
of  material  available  for  visual  education  purposes,  much 
of  which  teachers  can  get  free  of  charge.  School  Life,  the 
Office  of  Education  publication,  is  quite  suggestive  in  this 
connection. 

In  view  of  the  fact  that  a  course  in  Visual  Education  is 
now  required  by  the  Commonwealth  of  Pennsylvania  for  all 
applicants  for  a  permanent  college  certificate,  it  is  interest- 
ing to  note  that  all  of  the  fourteen  state  teachers  colleges 
and  fifteen  of  the  fifty-six  liberal  arts  colleges  and  univer- 
sities of  the  Commonwealth  have  developed  a  course  in 
visual  education  and  have  set  aside  specific  equipment  and 
laboratory  facilities  along  lines  suggested  by  the  Depart- 
ment of  Public  Instruction.  In  a  letter  received  under  date 
of  February  11,  1936,  from  Mr.  Henry  Klonower,  Chief  of 
the  Teacher  Division,  he  reports  that  during  the  summer  of 
1935,  out  of  fourteen  thousand  teachers  enrolled  in  the 
Pennsylvania  summer  schools,  more  than  twelve  hundred 
were  enrolled  in  courses  in  visual  aids  and  sensory  tech- 
niques. He  estimates  that  eighteen  hundred  prospective 
teachers  were  enrolled  in  this  course  during  the  first  semes- 
ter of  1935-36.  In  view  of  the  current  interest  in  the  sub- 
ject of  visual  instruction,  it  is  interesting  to  note  that  a 
number  of  the  manufacturers  of  visual-sensory  aids  and 
equipment  are  reported  as  being  far  behind  in  their  orders 
for  this  material. 

In  conclusion,  the  implications  of  the  changing  social  or- 
der offer  direct  challenges  to  teachers  in  our  public  schools 
to  evaluate  their  offerings  in  the  light  of  effective  materials 
and  methods  adapted  to  this  desired  end.  The  institutions 
devoted  to  teacher  education  are  meeting  this  challenge  in 
preparing  both  prospective  teachers,  and  in  some  places 
teachers  in  service.  However,  teachers  in  service  have  yet 
to  meet  this  challenge  en  masse.  Courses  in  visual  educa- 
tion, if  properly  organized  and  conducted,  will  assist  in 
directing  the  attention  of  teachers  to  these  larger  and  more 
vital  ends  of  society.  Perhaps  administrators  and  super- 
visors themselves  ought  to  be  awakened  to  the  possibilities 
of  such  courses,  so  that  they  may  exercise  proper  leadership. 
In  the  last  analysis,  granting  an  adequate  preparation,  the 
effective  functioning  of  these  procedures  depends  very 
largely  upon  the  personality  and  the  attitude  of  the  teacher. 
As  Dorris  points  out:  "Whole-hearted  and  enthusiastic  rec- 
ognition of  the  need  of  it  (visual  education)  in  the  schools, 
and  the  ability  to  use  it  judiciously  and  effectively,  are  in- 
dispensable."* To  the  end,  then,  that  boys  and  girls  can 
understand  and  appreciate  the  environment  in  which  they 
live  will  life  be  rich  and  full  for  them.  This,  then,  would 
appear  to  be  the  principal  aim  of  visual  education. 


•Dorris,   Anna   Verona.   Tixual  Inslrtii-lion   in   the   Public  Schools,   1928. 
Ginn  and  Company,   New  York.   Page  369. 


Ma 


arch,  195  6 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  77 


The  Sound  Film  As  A  Teaching  Aid 


I 


THE  CHIEF  function  of  the  schools  is  to  supply  chil- 
dren with  concepts  in  the  most  economical  manner. 
The  measure  of  economy  is  the  saving  of  time  for 
the  learner  and  for  society.  Not  only  must  the  learning 
be  economical  but  it  must  also  take  into  consideration  the 
many  secondary  or  concomitant  learnings.  The  number 
of  these  are  in  direct  proportion  to  the  richness  and  vivid- 
ness of  the  instructional  medium.  Richness  and  vividness 
depend  upon  the  sensory  perceptions.  Sound  films  give  to 
the  learner  the  visual  images  of  the  actual  scenes  and  the 
sounds  which  are  inherent  in  their  actions.  These  natural 
sights  and  sounds  are  also  accompanied  by  spoken  words. 

If  I  were  seeking  the  most  vivid  means  of  learning  of  "Old 
Faithful"  I  would  go  to  Yellowstone  Park.  I  have  done  so, 
and  while  I  was  awed  by  its  roar  and  inspired  by  its  beauty, 
a  park  employee  lectured  to  those  present.  Having  selected 
this  experience  for  the  children,  we  can't  take  them  all  to 
Yellowstone  Park  but  we  can  bring  Yellowstone  Park  to 
all  of  them  by  using  sound  films.  We  can  also  provide  the 
lecturer  or  a  capable   substitute. 

"Old  Faithful''  has  been  in  the  curriculum  since  I  was  a 
boy.  I  learned  of  the  geyser  through  the  medium  of  one 
picture  and  a  brief  paragraph  in  my  geography.  Later, 
while  studying  physiography  in  High  School,  I  again  learned 
of  "Old  Faithful"  through  a  full-page  picture  and  several 
paragraphs  in  the  text  which  told  me  why  it  spouts.  An 
enterprising  high  school  teacher  also  provided  us  with  U. 
S.  Government  publications  which  added  other  pictures  of 
Yellowstone  Park  wonders  and  more  verbal  descriptions  of- 
them. 

Then  I  became  a  teacher  and  for  my  pupils  added  a  stere- 
opticon.  Later  I  became  principal  and  bought  a  motion  pic- 
ture machine  for  which  I  rented  films.  Finally,  as  assistant 
superintendent.  I  saw  the  silent  projectors  provided  for  ele- 
mentary schools  and  sound  films  for  the  Junior  and  Senior 
High  Schools. 

Having  briefly  reviewed  an  evolutionary  process  in  me- 
diums of  instruction,  let  us  proceed  to  evaluate  them.  Let 
us  count  the  gain,  and  let  us  also  try  to  forecast  future 
developments. 

We  return  then  to  our  instructional  medium  which  is  rich, 
vivid  and  e-onomical,  while  retaining  the  inedium  of  verbal 
language.  Verbal  language,  when  used  as  a  medium  of  in- 
struction with  sound  films,  is  not  interposed  between  the 
child  and  the  desired  concept.  It  is  presented  as  naturally 
as  verbal  language  can  be  presented,  by  being  spoken.  Al- 
though our  common  sense  tells  us  obvious  reasons  for  using 
verbal  accompaniments,  let's  bring  up  the  big  guns  of  re- 
search by  quoting  from  some  learned  authorities. 

In  The  Scliool  Review  for  March  1933  an  experiment  was 
reported  by  E.  E.  Einbecker.  Some  of  Dr.  Einbecker's  con- 
clusions have  a  direct  bearing  on  our  present  discussion.  He 
finds  that : 

1.  Verbal  accompaniments  increase  the  comprehension  over 
that  secured  from  the  film  without  caption  or  comment. 

2.  Carefully  planned  comments  increase  the  pupil's  under- 
standing and  memory  of  the  picture. 

3.  Tlie  functions  of  verbal  accompaniments  to  filins  are  to 
furnish  the  word  symbols  which  may  be  used  to  represent  the 
more  concrete  experiences  which  the  films  portray,  and  to 
direct  the  attention  to  the  important  terms  or  features  of  the 
picture. 


By      LEONARD      POWER 

President  of  National   Platoon  School  Organization, 
New    York    City 


4.  Tlie  main  function  of  films  is  to  make  instruction  con- 
crete in  order  to  avoid  verbalism.  On  the  other  hand  since 
most  thinking  is  done  with  the  aid  of  words,  one  of  the  most 
important  functions  of  education  is  to  supply  verbal  symbols 
for  concrete  experiences.  The  ultimate  aim  of  this  goal  of 
education  is  the  development  of  the  ability  to  carry  on  abstract 
thinking.  From  this  standpoint,  either  symbolism  without  ex- 
perience or  experience  without  vocabulary  means  an  incom- 
plete education. 

A  comprehensive  experiment  in  the  sound-picture  field  was 
undertaken  by  Arnspiger.l  The  purpose  of  this  study  was  to 
determine  the  effectiveness  of  certain  educational  talking  pic- 
tures in  natural  science  and  music  when  used  as  an  integral 
part  of  the  regular  classroom  instruction. 

Sound  Pictures  and  Units  of  Instruction  Used 

The  sound  pictures  used  in  the  experiment  were  based  on 
units  of  instruction  written  by  experts  in  the  fields  of  science 
and  inusic,  taking  into  consideration  modern  educational  theo- 
ries and  practices.  The  content  of  the  films  included  those  im- 
portant elements  of  subject  matter  which  were  thought  to  be 
particularly  well  adapted  to  presentation  through  the  medium 
of  sound  pictures,  all  available  teaching  devices  and  produc- 
tion techniques  inherent  in  sound-picture  production  being  con- 
sidered. The  printed  units  of  instruction  served  as  courses  of 
study  or  guides  to  teachers  for  the  experimentation.  They 
facilitated  teaching  and  offered  numerous  suggestions  for  the 
enrichment  of  pupil  learning. 

The  third,  the  latest  (1934)  big  gun  of  research  makes  a 
bull's  eye.  It  is  a  dissertation  by  Dr.  Leon  H.  Westfall  en- 
titled, A  Study  of  Verbal  Accompaniments  to  Educational  Mo- 
tion Pictures.  I  shall  therefore  report  freely  from  Dr.  West- 
fall's  analysis  and  findings. 

Dr.  Westfall  used  three  films  which  were  prepared  for  silent 
projection  and  three  which  were  for  projection  with  an  ac- 
companying integrated  lecture.  He  varied  the  method  of  pres- 
entation of  these  six  films  in  the  following  manner : 

1.  Each  film  was  shown  once  without  any  verbal  accompani- 
ment. 

2.  Each  film  was  shown  once  with  average  length  titles. 

3.  Each  film  was  shown  once  with  long  titles  which  included 
explanatory  materials. 

4.  Each  film  was  shown  once  with  average  length  titles  plus 
teacher  comment. 

5.  Each  film  was  shown  once  with  a  teacher  lecture. 

6.  Each  of  the  talking  pictures  were  shown  once  with  a  pre- 
pared sound  projected  lecture. 

7.  Each   film   was  shown  once  with  a  teacher-prepared  ex- 
planation. 

Thus  Dr.  Westfall  presented  seven  variations  of  presentation 
of  the  films.  Following  the  presentation  he  tested  the  children 
to  determine  the  degree  to  which  they  had  formed  the  con- 
cepts which  were  presented. 

Dr.  Westfall's  conclusions,  from  the  twenty-five  fifth  grade 
classes  with  which  he  experimented,  are  significant  as  evidence 
of  the  relative  merits  of  each  of  the  several  methods  of  pres- 
entation.    He  reports  the  following  conclusions : 

1.  For  films  of  the  science  or  expository  type  originally 
constructed  with  the  usual  captions  for  silent  projection: 


1.  V.  C.  Arnspiger,  Measuring  ttie  Effectivenestt  of  Talking  Pictures 
an  Teaching  Aida.  New  York  City:  Bureau  of  Publications,  Teach- 
ers   College,    Columbia   University,    1933. 


Page  78 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


a.  An  explanation  which  the  teacher  prepares  from  materials 
furnished  with  the  film,  a  lecture  furnished  with  the  film  and 
read  by  the  teacher,  and  the  usual  captions  were  about  equal 
as  an  aid  to  understanding  the  contents  of  the  film. 

b.  These  three  forms  of  verbal  accompaniment  were  superior 
to  long  captions  by  a  statistically  significant  difference  and 
superior  to  the  regular  captions  supplemented  by  teacher  ex- 
planation, by  a  difference  that  is  nearly  significant  statistically. 

c.  For  each  of  the  three  films,  when  the  regular  captions 
were  materially  lengthened  to  increase  the  amount  of  explana- 
tion, they  not  only  failed  to  increase  the  understanding  of  the 
picture,  but  actually  lowered  it. 

2.  For  films  of  the  science  or  expository  type  originally 
constructed  for  use  with  sound  accompaniment : 

a.  A  mechanically  produced  lecture  was  significantly  super- 
ior to  any  other  form  of  verbal  accompaniment  used  in  the 
experiment. 

b.  A  lecture  that  is  furnished  with  the  film  and  read  by  the 
teacher  was  significantly  superior  to  the  same  material  printed 
on  the  film  or  to  an  explanation  which  the  teacher  prepared 
from  materials  furnished  with  the  film. 

c.  An  explanation  which  the  teacher  prepared  from  ma- 
terial furnished  with  the  film  was  slightly  but  not  significantly 
superior  to  long  captions  printed  on  the  film. 

3.  Oral  forms  of  verbal  accompaniment  were  especially 
helpful  to  low  ability  pupils.  When  oral  explanations  were 
offered,  low  ability  pupils  came  nearer  to  keeping  up  with  the 
average  of  the  class  in  understanding  than  when  the  reading 
of  titles  was  required. 

4.  Pupils  expressed  a  five-to-one  preference  for  talking  pic- 
tures over  any  other  form  of  verbal  accompaniment. 

His  conclusion  that  "a  mechanically  produced  lecture  was 
significantly  superior  to  any  other  form  of  verbal  accompani- 
ment used  in  the  experiment",  should  close  all  argument.  It 
was  supported  by  another  conclusion,  that,  "a  lecture  that  is 
furnished  with  the  film  and  read  by  the  teacher  was  signifi- 
cantly superior  to  the  same  material  printed  on  the  film  or 
to  an  explanation  which  the  teacher  prepared  from  materials 
furnished  with  the  film". 

His  third  conclusion  that  "oral  forms  of  verbal  accompani- 
ment were  especially  helpful  to  low  ability  pupils"  is  the  an- 
swer to  an  educator's  prayer.  The  low  ability  pupils  find  the 
printed  verbal  accompaniment  much  more  difficult  because 
their  reading  ability  is  much  more  limited. 

If  we  are  to  have  oral  accompaniments,  we  may  either  have 
them  prepared  in  advance  and  read  by  the  teacher  or  repro- 
duced by  the  machine  which  projects  the  picture.  The  former 
would  require  the  teacher  to  experience  a  preview  of  the  film 
and  a  very  careful  reading  of  the  accompanying  materials. 
This  would  require  a  considerable  amount  of  time  and  would 
result  in  no  gain  over  the  mechanically  produced  lecture.  We 
should  also  bear  in  mind  that  there  is  a  great  saving  of  film 
when  there  is  no  need  for  showing  printed  captions,  titles,  or 
other  explanatory  matter  on  it. 

Having  reviewed  the  findings  of  Dr.  Westfall,  we  may  look 
into  some  of  the  earlier  studies.  Dr.  P.  J.  Rulon,  of  Harvard 
University,  in  Tlie  Sound  Motion  Picture  in  Science  Tcactiing 
says,  "The  best  short  summary  which  can  be  made  of  some- 
what more  than  one  hundred  separate  experiments  is  that  when 
properly  produced  and  wisely  used,  the  motion  picture  pos- 
sesses distinct  pedagogical  values  over  and  above  traditional 
teaching  methods  on  which  the  same  amounts  of  time  and 
energy  are  expended". 

Let  us  now  turn  to  the  children  as  authorities  on  the  talking- 
picture.  In  Dr.  Westfall's  experiment,  they  expressed  a  "five- 
to-one  preference  for  talking  pictures  over  any  other  form  of 
verbal   accompaniment".     When    we   consider   how   frequently 


children  attend  the  motion  picture  theatres,  in  which  all  pro- 
jections are  accompanied  by  sound,  we  can  understand  the 
reason  for  their  five-to-one  preference  for  the  talking  picture. 
It  seems  only  natural  to  them.  It  should  not  require  a  Ph.  Dj 
dissertation  to  validate  the  statement  that  children  prefer  talk^j 
ing  pictures.  The  box  office  receipts  of  any  "movie"  have  long 
since  validated  that  statement.  The  fact  that  the  silent  \)\c\ 
ture  has  completely  passed  out  of  the  commercial  field  should 
be  sufficient  evidence,  even  for  educators. 

One  of  the  largest  of  the  commercial  producers  has  on  it 
staff  several  men  whose  dissertations  were  in  the  field  of  audio 
visual  teaching  aids.  These  experts  have  made  very  carefu 
studies  in  a  number  of  cities.  I  quote  from  the  Evansvilld 
study  entitled,  ".A  Program  for  The  Utilization  of  Audio- ViS'^ 
ual  Aids",  a  plan  proposed  for  the  Evansville  Public  Schools; 
Evansville.  Indiana,  Erpi  Picture  Consultants  Incorporated 
New  York,  New  York,  1935. 

"By  means  of  the  sound  picture  it  is  possible  so  to  enlarg^ 
the  environment  of  the  individual  that  his  experience  may  in 
many  respects  take  in  the  entire  world — life  situations  whicH 
he  would  otherwise  never  contact  become  part  of  his  persona 
experience.  This  communication  device  can  overcome  the  verjj 
great  psychological  difficulty  which  schools  face  in  the  matte^ 
of  presenting  ideas  by  words,  a  difficulty  which  arises  simpW 
because  the  words  of  themselves  without  a  common  back'l 
ground  do  not  mean  the  same  thing  to  every  one." 

"The  sound  picture  enables  the  student  to  acquire  concept^ 
depending  upon  unseen  and  unheard  facts  and  relationships^ 
For  example,  a  microscopic  field  smaller  than  a  pin  point  cat) 
be  shown  and  discussed  before  an  audience  of  hundreds  o^ 
students.  By  means  of  time  lapse  and  slow  motion  photog- 
raphy, movements  in  nature  too  slow  for  the  human  eye  to 
perceive  can  be  speeded  and  those  moving  too  rapidly  for 
human  perception  can  be  slowed  down  to  such  an  extent  as  to 
become  the  actual  experience  of  all". 

"Still  another  desirable  quality  of  the  sound  picture  lies  in 
the  fact  that  it  can  present  abstract  ideas  which  heretofore 
have  been  very  difficult  because  they  could  be  acquired  only 
through  complicated  processes  of  reflective  thinking,'  beyond 
the  ability  of  a  large  number  of  the  school  population.  An 
example  of  this  may  be  found  in  a  film  recently  developed  for 
the  University  of  Chicago  entitled,  Molecular  Tlicory  of  Mat- 
ter. This  film,  which  deals  almost  entirely  in  abstract  reas- 
oning, shows  very  clearly  how  the  molecular  theory  has  grown 
in  the  minds  of  scientists  from  an  abstract  concept  to  objective 
reality." 

All  that  has  gone  before  leads  to  the  question  which  is,  in 
the  vernacular,  "So  ti'liatf"  The  evidence  in  favor  of  sound 
films  is  in  our  hands,  so  wtiat? 

Before  offering  a  reply,  we  should  examine  some  reasons 
wliy  the  films  are  not  in  the  schools. 

1.  Educators  lack  the  social  inventiveness  to  match  the  pro- 
ducers. They  are  too  wedded  to  "traditional"  school  schedules. 
They  have  failed  to  integrate  the  movies  as  they  have  inte- 
grated manual  training.  The  familiar  alibi  is  lack  of  funds, 
although  schedules  can  be  invented  which  will  use  the  new 
medium  of  instruction  for  large  groups  of  children  at  mu.ii 
less  than  the  present  cost  of  instruction.  Only  recently  in  the 
schools  of  Providence,  Rhode  Island,  under  controlled  condi- 
tions, it  was  demonstrated  that  one  teacher  using  the  sound 
picture  could  teach  a  group  of  more  than  ISO  students  as  well 
as  or  even  better  in  certain  areas  of  natural  science,  than  could 
individual  teachers  with  classes  ranging  from  30  to  40  stu- 
dents. This  does  not  mean  that  the  school  of  tomorrow  should, 
or  will,  reduce  the  number  of  teachers  by  using  the  sound 
picture,  but  rather  that  many  teachers  will  thereby  be  released 
from   certain   laborious   tasks   involved    in   mass   education,   to 


larch,  19}  6 


Proceedings  of  the  Deparlincnt  of  Visual  Instruction  Meeting 


\ 

^perform   more    fundamental   services   involving   the   needs   and 
abilities  of  individuals  in  very  small  groups. 

12.  The  commercial  motion  picture  theater  managers  have 
;ld  aloof.  Our  first  feeble  after-school  "shows"  made  us 
eir  competitors.  Few  school  systems  now  permit  admission 
arges  and  the  motion-picture  industry  should  forget  we  ever 
d  so.  They  should  support  a  movement  to  use  sound  pic- 
rcs  in  the  schools.     The  big  producers  should  greatly  stiniu- 

Jhe  American  Film  Institute 


MAY  I  say  at  the  outset  that  there  is  nothing  novel 
about  the  idea  of  a  "Film  Institute."  It  has  doubtless 
been  in  the  hearts  and  minds  of  leading  members  of 
the  Visual  Instruction  Department  of  the  N.  E.  A.  for  many 
years.  Indeed  approximately  ten  years  ago  The  Educational 
Screen  carried  an  article  by  George  E.  Stone  of  Carmel,  Cal- 
ifornia, in  which  he  predicted  the  development  within  ten  years 
of  an  educational  foundation  which  would  have  not  only  the 
functions  of  a  clearing  house,  but  also  Film  Library  functions 
as  well.  In  this  article  Mr.  Stone  drew  a  parallel  between  the 
suggested  Film  Museum  and  the  Chicago  Field  Museum.  The 
proposed  American  Film  Institute,  the  development  of  state 
and  national  libraries,  the  work  of  the  Film  Division  of  the 
Museum  of  Modern  Art  in  New  York  City,  establish  Mr. 
Stone's  reputation  as  a  prophet. 

It  is  not  necessary  for  me  to  recount  to  this  group  the  many 
reasons  which  lay  back  of  the  proposal  for  a  Film  Institute. 
Quite  obviously  a  clearing  house  of  information  and  tech- 
niques is  necessary  in  this  country,  but  the  obvious  difficulty 
is  one  of  getting  sponsorship  for  such  an  institution,  and  ade- 
quate financing.  The  American  Council  of  Education  at  Wash- 
ington D.  C,  a  non-governmental  agency  has  taken  the  spon- 
sorship of  this  activity.  Modest  preliminary  grants  of  funds 
have  been  made  by  the  General  Education  Board  and  the 
Payne  Fund.  Several  conferences  have  been  held  on  the 
problem. 

The  five  objectives  stated  for  this  institute  as  developed  by 
two  Conferences  are  as  follows:  (1)  To  collect  and  distribute 
significant  information  concerning  the  motion  picture  in  edu- 
cation at  home  and  abroad.  (2)  To  stimulate  the  production 
and  use  of  the  motion  picture  for  educational  purposes.  (3) 
To  promote  the  cooperation  of  the  agencies  interested  in  the 
use  and  production  of  the  motion  picture  in  education.  (4)  To 
initiate  and  promote  research  pertaining  to  the  motion  picture 
and  allied  visual  aids  in  education.  (5)  To  develop  a  na- 
tional appreciation  of  the  potential  contribution  of  the  motion 
picture  to  the  cultural  life  of  America. 

May  I  now  discuss  briefly  the  first  objective.  It  is  self-evi- 
dent to  the  members  of  this  audience  that  there  is  a  tremen- 
dous amount  of  significant  information  which  is  not  being  col- 
lected and  distributed  at  the  present  time.  What  are  some 
examples  of  this  type  of  information?  First  of  all  we  need 
data  concerning  the  extent  and  character  of  the  use  of  visual 
aids  in  the  schools.  Further,  these  data  ought  to  be  a  part  of 
the  reports  made  by  schools  each  year  to  their  state  depart- 
ments of  education.  Some  states,  e.  g.  Illinois,  do  include  this 
information  in  their  high  school  reports.  However,  data  of 
this  type  were  not  available  except  in  part  before  the  recent 
survey  of  the  U.  S.  Office  of  Education.  Data  concerning 
trends  in  this  field  and  information  concerning  better  practice 
have  been  available  through  McCluskey's  report  and  through 
the  very  excellent  year  book  of  the  Elementary  School 
Principals. 

None  of  these  studies,  however,  goes  into  the  very  funda- 
mental question  of  techniques  for  the  use  of  films  and  allied 


Page  79 


late  such  local  support  by  theater  managers. 

3.  Educators  have  waited  for  more  and  better  pictures. 
Certainly,  with  such  careful  production  as  that  of  Erpi  Pic- 
ture Consultants,  there  is  no  need  to  wait  longer. 

In  conclusion,  we  see  in  the  sound  picture  an  example,  in  so 
far  as  the  schools  are  concerned,  of  mechanical  inventiveness 
waiting  on  social  inventiveness.  We  are  the  social  inventors. 
To  us,  then,  goes  the  challenge. 


By      EDGAR      DALE 

School  of  Education,  Ohio  State  University.  Columbus,  O. 

visual  aids  in  the  schools.  I  constantly  put  this  question  to 
principals  and  superintendents :  What  teachers  are  there  in 
your  city  or  your  state  who  exemplify  excellent  teaching  prac- 
tice with  the  use  of  these  aids.  Most  educators  are  nonplussed 
by  this  question.  Superintendent  McAndrew  once  told  me  not 
to  fret  about  this,  however,  since  most  superintendents  and 
principals  didn't  even  know  their  good  teachers  in  any  field. 
Obviously  if  we  are  to  be  doing  all  the  time,  we  shall  have  to 
have  in  each  state  and  in  each  city,  a  list  of  the  key  teachers 
in  these  fields.  Now  may  I  give  you  some  interesting  exam- 
ples of  data  that  I  have  picked  up  in  my  visits  to  various 
centers. 

One  of  the  striking  things  that  one  discovers  as  he  visits  var- 
ious centers  throughout  the  country  is  the  fact  that  in  almost 
every  center,  there  will  be  persons  who  have  developed  spec- 
ialized skills  or  specialized  techniques  that  are  not  generally 
known  throughout  the  field.  For  example,  Alan  Nicol  at  Buf- 
falo through  the  reclassification  and  regrading  of  his  films  has 
greatly  stimulated  film  use.  This  new  film  catalog  is  a  mimeo- 
graphed document  but  it  defines  very  carefully  to  the  primary 
teacher,  for  example,  those  films  which  will  prove  useful  to 
her  in  teaching  various  subjects.  Previously  this  information 
remained  unknown  to  her. 

One  of  the  finest  school  activity  films  that  I  have  ever  seen 
was  screened  recently  at  the  three-day  University  of  Wiscon- 
sin Institute.  It  was  made  by  Mr.  C.  M.  Cooley  of  the  Wau- 
watosa  High  School.  Few  people  in  this  country  know,  by  the 
way,  that  the  University  of  Minnesota  has  a  News  Reel  Thea- 
tre in  which  are  shown  each  week  all  of  the  current  news  reels 
and  travel  shorts.  Students  are  charged  five  cents  each,  more 
than  2500  of  them  come  to  each  weekly  performance,  and  the 
project  is  self-supporting. 

Mr.  Hansen  of  the  University  of  Wisconsin  has  this  year 
inaugurated  a  group  plan  for  the  utilization  of  visual  aids.  He 
is  probably  not  yet  ready  to  comment  on  its  effectiveness,  but 
it  is  an  illustration  that  techniques  of  a  very  important  sort 
are  being  developed  throughout  the  country. 

The  same  is  true  of  the  Cooperative  Library  developed  by 
Dr.  Russell  Gregg.  This  has  been  an  outstanding  success  and 
thanks  to  the  columns  of  The  Educational  Screen  it  is  now 
possible  to  let  groups  throughout  the  country  have  this  in- 
formation. 

When  I  was  in  Los  Angeles  two  or  three  years  ago  Miss 
Annette  Click  showed  me  an  excellent  film  on  Home  Eco- 
nomics dealing  with  serving,  which  had  been  made  by  the 
schools  there,  and  widely  used  in  that  system.  Many  schools 
throughout  the  United  States  however  would  be  very  much 
interested  in  seeing  that  film. 

The  Ohio  State  University  has  made  over  seventy-five  reels 
of  motion  pictures  during  the  last  few  years.  More  than 
twenty  reels  have  been  made  by  the  Department  of  Fine  Arts, 
twenty-three  by  the  Department  of  Psychology,  several  by  the 
Department  of  Veterinary  Medicine  and  other  scattered  depart- 
ments. Who  knows  about  these  films?  As  a  matter  of  fact, 
these  films  are  not  well  known  even  on  the  University  campus, 


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Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


and  yet  the  film,  "The  Making  of  a  Puppet",  which  was  pro- 
duced by  the  Fine  Arts  Department  of  Ohio  State  University 
is  a  superior  teaching  fihn  both  from  a  photographic  and  from 
a  teaching  standpoint. 

The  University  of  Minnesota  in  cooperation  with  the  Hen- 
nepin County  Tuberculosis  Association  made  during  this  year 
an  excellent  sound  motion  picture  dealing  with  tuberculosis. 
If  you  are  interested  in  techniques  of  this  type  I  am  certain 
that  the  film  will  interest  you  greatly.  More  than  40,000 
people  have  already  seen  it. 

The  city  of  Detroit  was  responsible  for  the  production  of  a 
number  of  clips  that  were  attached  to  news  reels  in  that  city 
in  a  campaign  to  reduce  delinquency  in  taxes.  These  have  now 
been  cut  together  to  make  several  reels.  Has  any  one  in  this 
audience  ever  heard  about  it?  This  film  is  a  significant  one 
for  political  science,  for  teachers  of  government,  and  yet  I 
have  never  found  any  university  in  the  country  that  had  heard 
of  the  film.  If  Detroit  can  secure  such  striking  results  in  col- 
lecting delinquent  ta.xes  by  means  of  films,  should  not  this  fact 
be  made  known  more  widely? 

I  have  long  believed  that  one  of  the  prime  necessities  in 
American  Education  was  to  have  scouts  going  around  to  the 
various  schools  finding  excellent  techniques  and  excellent 
teachers  and  then  spreading  the  word  of  their  teaching  so  that 
others  might  have  the  benefit  of  their  techniques.  Through 
the  work  which  I  recently  completed  in  the  field  of  motion  pic- 
ture appreciation  I  was  able  to  collect  the  names  of  approxi- 
mately 750  superior  teachers  of  English  and  Social  studies 
who  were  interested  in  carrying  out  experimental  work  in  their 
field.  Now  obviously  this  information  ought  to  have  been 
made  available  before.  Certainly  if  we  are  going  to  progress 
in  any  field  of  human  knowledge,  or  in  any  field  of  teaching, 
we  ought  to  have  on  hand  in  every  state,  in  every  city  a  list 
of  those  key  master  teachers  who  are  willing  to  cooperate  and 
are  alert  in  their  reaction  to  new  ideas. 

The  list  of  some  10,000  persons  interested  in  visual  instruc- 
tion which  is  accruing  as  a  result  of  the  National  Motion 
Picture  Survey,  will  go  far  to  giving  us  persons  to  whom  to 
go  for  information  and  guidance  in  this  field. 

A  second  objective  of  the  American  Film  Institute  was 
stated  as  follows :  "To  stimulate  the  production  and  use  of 
motion  pictures  for  educational  purposes."  Ob.iously  there 
are  a  number  of  ways  of  carrying  this  objective  to  its  com- 
pletion. One  of  the  most  important  things  which  we  must  do 
in  this  country  is  to  begin  an  adequate  teacher  training  pro- 
gram in  the  field  of  visual  aids.  We  have  a  very  unfavorable 
showing  on  that  score.  Out  of  some  thirty-five  teachers  col- 
leges to  whom  I  recently  wrote  and  these  were  the  leading 
teachers  colleges  in  the  country,  almost  none  of  them  either 
oflfered  as  a  course  or  a  part  of  a  course  any  instruction  in  the 
use  of  visual  aids. 

Many  of  these  Presidents  of  teachers  colleges  and  Deans 
of  Colleges  of  Education  argue  cleverly  against  a  separate 
course  on  visual  aids.  It  ouglit  to  be  integrated  with  the 
teaching  of  science,  with  the  teaching  of  geography,  and  so 
on,  they  say.  "Might  just  as  well  have  a  course  in  maps  said 
one  Dean  of  a  College  of  Education,"  I  then  follow  up  with 
this  question  "All  right,  then,  show  nie  the  units  on  visual 
aids  that  you  are  using  in  the  teaching  of  science,  geography". 
I  ask  the  question  but  it  isn't  answ^ered  because  the  majority 
of  these  schools  do  not  give  any  training  at  any  point  in  this 
particular  field. 

Much  of  our  teacher  training  will  have  to  be  given  to  teach- 
ers in  service  through  conferences,  institutes  and  demonstra- 
tions. A  number  of  examples  of  this  type  of  activity  are  going 
forward. 

For  example,  last  summer  at  the  University  of  Illinois,  Dr. 
Russell  Gregg  and  his  associates  put  on  a  two  day  Film  Insti- 


tute. From  100  to  ISO  persons  attended  each  session.  This 
Institute  will  be  held  again  this  next  summer  and  an  even 
larger  attendance  is  expected.  Just  two  weeks  ago  now  I  spent 
three  days  at  the  University  of  Madison,  where  Mr.  J.  E. 
Hansen,  head  of  the  Visual  Instruction  Service  of  the  Exten- 
sion Division  of  the  University  put  on  a  three  day  Institute. 
The  response  to  this  work  was  gratifying,  and  there  is  little 
doubt  that  this  type  of  thing  will  continue. 

In  the  State  of  Ohio,  we  are  laying  plans  for  a  motion  pic- 
ture Institute  this  summer  on  the  campus  of  Ohio  State  Uni- 
versity, and  also  on  the  campuses  of  several  other  of  the  state 
institutions.  It  is  likely  too  that  we  shall  have  several  Insti- 
tutes and  Conferences  in  cooperation  with  various  public 
school  systems  and  county  school  systems  throughout  the 
state.  A  great  many  school  people  have  indicated  that  they 
are  willing  to  cooperate  with  the  University  and  with  the 
State  Department  in  setting  up  such  conferences  and  Insti- 
tutes. Dr.  Umstadt  of  the  University  of  Minnesota  pointed 
out  it  would  be  relatively  easy  to  hold  a  series  of  ten  Saturday 
motion  picture  conferences  in  the  ten  supervisory  districts  in 
Minnesota.  Through  these  conferences  it  will  be  possible  to 
put  the  principals  and  superintendents  of  that  entire  state 
quickly  into  touch  with  the  latest  developments  and  the  philoso- 
phy of  this  work. 

You  may  be  interested  to  know  that  there  will  be  a  very 
sharp  increase  in  the  courses  in  visual  instruction  taught  dur- 
ing this  ne.xt  summer.  Those  who  are  at  present  offering  su;h 
courses  have  been  deluged  by  requests  from  others  asking  aid 
in  these  courses.  Obviously  there  is  a  need  for  greater  co- 
ordination. I  am  hopeful  that  a  number  of  us  who  are  going 
to  give  courses  this  summer  may  get  together  about  June  1st 
and  try  to  clarify  a  bit  better  just  what  objectives  we  are  try- 
ing to  reach  in  visual  instruction. 

So  much  for  the  second  objective.  Let  us  now  turn  to  the 
third  namely,  "to  promote  the  cooperation  of  the  agencies 
interested  in  the  use  and  production  of  motion  pictures  in  edu- 
cation". This  is  a  broad  objective  and  permits  the  exercise  of 
a  great  deal  of  leeway  in  carrying  it  out  .  There  are  a  number 
of  agencies  of  various  types  which  are  interested  in  promoting 
the  use  of  the  educational  films.  We  have  educational  agencies 
such  as  the  N.  E.  A.,  the  Visual  Instruction  Department  of 
the  N.  E.  A.,  The  American  Council  on  Education,  The  U.  S. 
Office  of  Education,  the  State  Departments  of  Education.  We 
have  the  American  Federation  of  Teachers,  Phi  Delta  Kappa, 
and  we  have  our  local  teachers  groups.  Obviously  we  need 
to  coordinate  the  activities  of  these  groups  in  order  to  make 
clear  what  it  is  each  is  trying  to  achieve. 

In  this  connection  may  I  state  that  one  of  the  major  strong 
points  in  the  whole  educational  scheme  will  come  from  specific 
educational  societies.  In  other  words,  the  growth  will  come 
through  activity  on  the  part  of  the  modern  language  teachers, 
the  teachers  of  physical  education,  the  teachers  of  English, 
working  through  their  regularly  constituted  educational  so- 
cieties. Already,  for  example,  the  American  Psychological 
Association  has  appointed  a  committee  on  films,  so  has  the 
women's  section  of  the  American  Physical  Education  Associa- 
tion. I  believe  that  the  Modern  Language  Association  has  al- 
ready done  some  work  in  this  field.  They  recently  made  a 
study  of  film  activities  on  the  University  level. 

Our  fourth  objective  is  "to  initiate  and  promote  research 
pertaining  to  motion  pictures  and  allied  visual  aids  in  educa- 
tion." Dr.  Charles  Hoban,  Jr.  has  already  carried  through 
an  evaluatory  study  dealing  with  the  49  major  research  studies 
in  this  field.  Obviously  it  is  necessary  to  set  up  additional 
research  studies.  I  should  like  very  much  to  see  these  new- 
studies  emphasize  objectives  not  hitherto  emphasized  by  in- 
vestigators. I  refer,  for  example,  to  the  possible  value  of  mo- 
tion  picture  as   a   device   for   changing   attitudes.      Indeed   one 


^Kf  the  objective 


Proceedings  of  the  Departnieiit  of  I'isna!  Instruction  Meeting 


Page  81 


the  objectives  that  is  being  much  more  commonly  stated  is 
the  development  of  a  sensitivity  to,  and  interest  in  social  prob- 
lems. It  has  been  shown  very  clearly  that  the  theatrical  motion 
picture  does  influence  attitudes.  How  powerful  is  the  typical 
classroom  film  in  developing  this  sensitivity  to  problems? 

Knowlton  and  others  have  studied  this  problem  in  part,  by 
discovering  the  effectiveness  of  the  film  in  increasing  interests 
in  reading  and  other  fields.  Studies  of  this  type  must  be 
greatly  extended.  We  ought  to  go  much  farther  in  discover- 
ing the  relationship  between  the  utilization  of  films  and  the 
development  of  good  thinking.  One  of  the  most  common  crit- 
icisms of  films  is  that  they  are  likely  to  give  concrete  infor- 
mation at  the  expense  of  abstraction  and  generalization.  In 
other  words,  that  they  are  likely  to  over  do  the  functions  for 
which  they  are  best  fitted.  Very  little  evidence  e-xists  at  this 
point.  The  Rulon  study  is  about  the  only  one  that  has  much 
significance  for  this  particular  objective.  His  data  shows  that 
the  film  group  exceeded  the  non  film  group  in  their  ability  to 
educe,  as  he  calls  it,  or  to  infer  from  pictorial  material. 

There  are  a  number  of  service  research  studies  that  need 
to  be  carried  through.  I  refer  here  particularly  to  a  much 
closer  integration  of  films  and  slide  materials  with  the  curric- 
ulum. This  has  been  satisfactorily  done  at  a  number  of  points. 
Obviously  we  cannot  let  the  use  of  films  and  slides  and  other 
devices  and  tnaterials  merely  rest  with  the  whim  and  caprice 
of  the  teacher.  If  these  materials  are  valuable,  then  they  ought 
to  be  so  stated  in  the  curriculum  and  their  u.;e  promoted  as  a 
regular  part  of  school  instruction. 

The  fifth  objective  is  "to  develop  a  national  appreciation  of 
the  potential  contribution  of  the  motion  picture  to  the  cultural 
life  of  -America."  This  is  an  objective  which  may  mean  very 
much  or  it  may  mean  very  little.  I  believe  that  during  the 
past  two  or  three  years  partly  as  the  result  of  the  Payne  Fund 
Studies,  partly  as  the  result  of  the  criticism  that  came  from 
motion  pictures,  there  has  been  developed  a  very  profound 
belief  on  the  part  of  the  people  of  this  country  of  the  influence 
of  the  motion  picture.  The  National  Congress  of  Parents  and 
Teachers  through  its  bulletins  and  through  its  publicizing  for 
visual  instruction  has  developed  a  very  favorable  attitude  on 
the  part  of  parents.  Indeed  the  weakest  link  in  the  whole  chain 
lies  with  the  principal  and  the  superintendent.  I  wouldn't  say 
that  with  too  much  force  or  conviction,  since  I  do  not  have 
adequate  data.  I  am  convinced,  however,  that  as  a  rule  prin- 
cipals and  superintendents  are  not  up  to  our  ablest  parents  in 
their  thinking  in  this  field.  Many  parents  report  to  me  that 
they  have  liad  unsuccessful  and  unsatisfactory  interviews  with 
principals  and  superintendents  with  this  problem.  One  state 
motion  picture  chairman  said  that  they  had  even  offered  a  pro- 
jector to  a  principal  of  a  school  and  he  had  refused  it.  A 
superintendent  of  schools  in  a  western  city  objected  to  one  of 
the  finest  teaching  films  that  I  have  ever  seen  because  the  chil- 
dren would  enjoy  it.  It  was  too  interesting,  he  said.  The 
reply  of  the  demonstrator  was  not  tactful  but  it  was  forceful. 
The  demonstrator  replied,  "We  have  a  difference  in  point  of 
view,  I  am  trying  to  put  some  lil'e  into  the  curriculum,  you 
are  trying  to  take  the  life  out  of  it."  .\nd  now  may  I  briefly 
report  on  six  preliminary  projects  which  we  are  now  carrying 
on. 

Project   1.     The   Establishment  and   Operation   of   One 
Committee  in  a  Selected  Field  of  Subject-Matter 

Many  suggestions  were  available  as  to  the  first  area  to  be 
covered,  but  the  time  element  had  to  be  considered  and  a  field 
selected  in  which  a  complete  cycle  of  activities  could  be  car- 
ried on  by  the  first  of  the  year.  A  motion  picture  committee 
of  the  National  Section  on  Women's  Athletics  of  the  American 
Physical  Education  Association,  of  which  Miss  Gladys  E. 
Palmer  of  Ohio  State  University  was  chairman,  had  already 
made  a  partial  survey  of  the  field  of  physical  education.     The 


American  Council  on  Education  is  augmenting  and  enlargingj, 
the  work  thus  begun.  The  committee  is  surveying  325  Ohio 
high  schools  and  385  colleges  and  universities  to  ascertain  : 

a.  The  interest  in  using  films  for  physical  education ; 

b.  The  extent  to  which  these  schools  are  equipped  to  show 
films ; 

c.  The  type  of  film  that  seems  most  valuable  as  an  instruc- 
tional aid  in  the  teaching  of  girls'  games  and  sports. 

Later  this  committee  hopes  to  view  all  films  produced  by 
various  sources  that  might  be  adapted  to  t'.iese  uses,  and  will 
be  prepared  to  oflfer  cooperation  in  the  editing  or  producing  of 
suggested  new  films.  The  work  of  this  committee  will  call 
attention  to  the  value  of  films  in  this  field  of  instruction  and 
will  serve  as  a  spearhead  or  pattern  for  communities  in  other 
subject-fields  that  may  be  subsequently  set  up  by  the  proposed 
,11m  institute  or  other  interested  groups. 

Project  2.     A  Study  of  a  Number  of  Practical  Methods 
of  Setting   Up  and   Administering   Visual   Education 
Programs 
This  study  would  result  in  a  handbook  answering  many  of 
the  practical  questions  confronting  a  school  administrator  who 
is  either  engaged  in  a  visual  education  program  or  who  con- 
templates setting  up  such  a  program.     Members  of  the  Coun- 
cil's staff  have  visited  many  of  the  leading  visual-instruction 
departments   such  as   New  York,   Chicago,   Los   Angeles,   San 
Diego,   St.   Paul,   Minneapolis,   Pittsburgh,   Rochester,   Buffalo, 
St.  Louis,  Kansas  City,  Detroit,  Boston  and  others.     Most  of 
the  basic  data  necessary  for  such  a  handbook  have  been  col- 
lected and  the  material  is  now  being  prepared  for  some  form 
of  publication  and  distribution. 

Project  3.     The   Preparation  of  a   Comprehensive 
Bibliography  of  Books  and  Articles  on  Motion 
Pictures  in  Education 
Many  centers  have  been  collecting  such  material,  but  it  was 
found  that  Dr.  Fannie  Dunn,  in  charge  of  Audio-Visual  Edu- 
cation,  Teachers   College,    Columbia   University,   had   begun   a 
comprehensive  project     of     a     similar  nature.     Therefore  the 
Council  is  cooperating  in  the  completion  of  this  work.     It  is 
not  contemplated  that  a  complete  list  of  all  the  literature  on 
visual  education  will  be  published  in  the  near  future.     Instead, 
a  digest  of  the  best  articles  pertaining  to  administration  of  a 
visual  program  and  the  teachers'  use  of  films  was  thought  to 
fill  a  more  practical  need.  Much  of  the  basic  data  as  to  sources 
have  been   collected  and  the  actual    digesting    of    articles    is 
proceeding. 

Project  4.  Preparation  of  a  Complete  Catalog  of 
Educational  Films  in  the  United  States 
By  carefully  checking  the  United  States  copyright  records 
for  a  number  of  years,  the  lists  of  commercial,  scientific, 
school,  governmental,  amateur  and  other  groups,  it  was  pos- 
sible to  locate  more  than  1800  sources  for  films  that  have  more 
or  less  educational  value.  A  film  catalog  card  was  prepared 
covering  about  100  items  and  representing  the  consensus  of 
opinion  of  many  persons  using  or  producing  films.  The  United 
States  Office  of  Education,  through  the  courtesy  of  Dr.  John 
W.  Studebaker,  Commissioner,  cooperated  with  the  Council  in 
sending  out  about  10,000  of  these  cards. 

Project  5.     A  Study  to  Discover  the  Edticational  Re- 
quirements   for    Motion    Picture    Projectors    and 
Other  Equipment 
This   will   probably   include   collecting  data     concerning    the 
amount  and  types  of  equipment  now  in  use  and  is  intended  to 
offer  a  practical  suggestion  as  to  future  requirements.     A  con- 
siderable part   of  this   study  may  be  carried  on  through  the 
cooperation  of  the  University  of  Minnesota,  as  well  as  with  the 
U.  S.  Office  of  Education. 

Project  6.     A  Study  of  the  Present  Status  of  Needs, 

Problems   Now   Faced   by   Schools   of   U.   S.— 

Cline  Koon 


Page  82 


Frocccdiiigs  of  tlie  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


Teaching  Safety  Through  Visual  Education 


By      HERBERT      J.      STACK 

Teachers     College,      Columbia     University,      Director     Education 
Division,    National    Bureau   of   Casualty   and   Surety    Underwriters. 


THERE  is  no  question  but  that  today  one  of  the  most  press- 
ing problems  that  lies  before  the  American  public  is  that 
of  preventing  automobile  and  other  types  of  accidents.  The 
last  year  has  seen  a  widespread  movement  in  many  states  and 
cities  to  deal  with  the  accident  situation.  The  American  people 
have  been  convinced  that  the  loss  of  over  100,000  persons  each 
year,  the  serious  injury  of  over  500,000  and  lost-time  injuries 
to  several  millions  is  too  great  a  price  to  pay,  when  it  is 
realized  that  such  a  large  percentage  of  the  common  accidents 
are  strictly  preventable. 

Public  and  private  schools  likewise  feel  that  this  matter  of 
safety  education  is  a  real  responsibility  that  cannot  be  avoided. 
There  is  hardly  a  progressive  school  system  in  the  country 
that  does  not  offer  some  safety  instruction  to  children,  in  the 
elementary  schools.  Moreover,  instruction  in  highway  safety 
is  being  introduced  in  the  high  schools  of  many  states.  Com- 
munities realize  that  if  accidents  are  to  be  reduced,  they  must 
call  upon  the  schools  to  provide  the  educational  background 
for  accident  prevention. 

Here  is  where  visual  education — using  motion  pictures,  lan- 
tern slides,  posters,  or  other  visual  lessons — comes  into  use. 
There  is  a  feeling  on  the  part  of  educators  that  well  planned 
visual  lessons  are  perhaps  the  most  effective  methods  of  influ- 
encing children.  Let  us  illustrate  this  point.  In  safety,  we  are 
concerned  with  trying  to  teach  children  the  dangers  of  certain 
hazards — for  example,  crossing  streets  against  lights,  playing 
with  matches,  hitching  rides  or  coasting  on  unsafe  streets. 
Yet  younger  children,  even  before  attending  school,  have 
knowledge  that  doing  these  things  is  dangerous.  They  are 
already  fairly  well  informed  about  dangers.  What  is  most 
needed  is  to  develop  good  safety  attitudes  and  skills,  rather 
than  merely  to  give  information.  We  need  the  most  effective 
lessons  in  order  to  do  this.  Just  teaching  children  safety  rules 
or  slogans,  singing  safety  songs  and  giving  negative  lessons, 
will  not  be  sufficient ;  but  lantern  slides  with  story  lessons  or 
motion  pictures  followed  by  check  tests  and  discussion  will 
have  real  value. 

We  will  admit  that  perhaps  the  best  way  to  learn  about  the 
dangers  of  swimming,  too  far  without  protection,  is  to  be 
nearly  drowned.  However,  this  method  is  too  heroic  and  fraught 
with  disaster  to  be  a  good  educational  procedure.  What  we 
can  do  is  to  give  children  vicarious  experience  with  certain 
dangers,  by  using  visual  methods  combined  with  story  lessons. 
During  the  last  four  years,  and  especially  during  the  past 
year  we  have  been  engaged  in  New  York  City,  in  the  production 
and  utilization  of  visual  aids  for  classroom  use.  This  work 
has  been  encouraged,  largely  as  a  result  of  a  grant  of  funds 
from  the  C.W.A.  and  more  recently  from  the  W.P.A.  One 
hundred  and  fifty  workers,  including  teachers,  artists,  photog- 
raphers and  technicians,  are  working  on  this  safety  project 
at  present.  In  addition,  300  workers  are  employed  on  other 
visual  education  projects  in  the  city.  A  brief  description  of 
this  project  is  being  given,  because  it  would  be  quite  easy  for 
any  city,  or  even  a  State  Department  of  Education,  to  under- 
take similar  work. 

Lantern  Slide  Production 
Over  13,000  colored  lantern  slides  have  been  prepared  for 
the  use  of  schools  and  other  educational  agencies.  These 
include  sets  of  slides  on  twenty  different  subjects,  as  de- 
scribed in  the  publication  "Visual  Education  in  Safety." 
The  lantern   slides  are   not  only  used  in  the  schools  of  New 


York  City,  but  many  sets  have  been  placed  in  state  and 
local  depositories,  in  various  sections  of  the  country.  The 
project  not  only  prepares  finished  colored  slides  for 
schools,  but  also  lends  negatives  and  supplies  unfinished 
positives.  Over  700  photographic  negatives  for  slides  are 
now  on  file,  with  two  photographers  kept  constantly  at 
work  securing  new  photographs.  When  any  seasonable  haz- 
ard arises,  such  as  coasting  or  skating,  we  get  photographs 
early  and  have  lantern  slides  in  the  hands  of  special  safety 
teachers  a  few  days  later.  These  sets  of  slides  are  utilized 
in  two  ways,  a  number  are  reserved  for  filling  orders  from 
schools,  the  normal  methods  of  distribution,  but  the  larger 
part  of  the  sets  are  in  the  hands  of  the  thirty  special  safety 
teachers    assigned    to   the   project. 

Most  of  these  slides  show  safety  in  a  positive  way,  that 
is,  we  want  to  show  safe  activities.  On  the  other  hand, 
there  are  a  few  subjects,  by  their  very  nature,  that  have  to  be 
treated  in  a  negative  way.  For  example,  if  hitching  de- 
velops in  any  section  of  the  city,  we  show  hitching  slides 
and  tie  up  very  definitely  the  various  dangers.  This  of 
course  is  negative,  but  there  is  no  safe  way  in  which  to 
hitch. 

Special  Teachers  of  Safety 
These  teachers  use  visual  methods  much  of  the  time. 
They  spend  from  one  to  ten  days  in  each  school.  Occasion- 
ally they  speak  in  school  assemblies,  but  most  of  their  time 
is  spent  using  visual  methods  in  classrooms.  This  group 
of  teachers,  during  the  last  18  months,  reached  over 
1,700,000  children  in  various  schools  and  playgrounds  in 
New  York  City. 

Motion   Pictures 

The  project  also  prepares  scenarios  and  produces  16  mm. 
motion  picture  films  on  various  phases  of  safety.  One 
reason  for  doing  this  is  because  of  a  dearth  of  good 
safety  pictures,  available  for  elementary  schools.  It  is  a 
surprising  fact  that  out  of  the  fifteen  or  more  films  often 
used  by  schools,  very  few  are  suitable  to  elementary  grades. 
These  are,  too  often,  commercial  films  not  prepared  by  ed- 
ucators, generally  designed  for  the  use  of  adults,  and  trans- 
planted into  elementary  schools.  Schools  seem  to  think 
that  because  they  can  get  these  motion  pictures  without 
cost,  they  should  use  them,  rather  than  to  rent  or  pur- 
chase better  films.  The  most  successful  of  the  16  mm. 
films  which  we  have  used  in  elementary  schools  include : 

Street  Safety  (New  York  Police  Department),  IVliy  Be  a 
Goose?  (Auto.  Club  of  Southern  California),  Tlie  Bad  Master 
(Fire  Prevention  Film — Aetna  Life  Ins.  Co.),  Street  Safety — 
t'pper  Grades  (Eastman),  Street  Safety  —  Primary  Grades 
(Eastman),  Swimming  and  Water  Safety  (National  Bureau  of 
Casualty  and  Surety  Underwriters). 

There  is  a  wider  variety  of  films  available  in  the  high 
school    field,    including : 

Once  tJpon  a  Time  (Metropolitan  Life),  Remember  Jimmy 
(F"ireinen's  Fund),  Everybody's  Business  (Detroit  Police  De- 
partment), Asle  Daddy  (National  Safety  Council),  Tlie  Ver- 
dict (National  Safety  Council),  Goofs  (Auto.  Club  of  Southern 
California). 

The  Bureau  of  Mines,  liastman,  the  Chevrolet  and  Ford 
Motor  Companies  in  addition,  as  well  as  the  National  Safety 
Council,  have  other  films  which  can  be  used  to  advantage  in 
certain    high    school    classes.      The     films     produced     by     our 


March,  19}  6 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  83 


project  in  New  York  are  not  available  for  general  distribution, 
because  they  are  used  continually  in  the  schools  of  the  city. 
Use  of  Slides  and  Films  in  Schools 
In  order  to  make  the  most  effective  use  of  slides  and  films, 
|iwe  use  the  following  procedure : 

Lantern  slides  are  usually  shown  in  the  classrooms.     It  is 
timportant   that   the   use   of   slides   involves   pupil   participation. 
[Manuscripts  are   provided   with   all   sets.     These  are  not   lec- 
ftiires  to  be  given  by  teachers,  but  rather  children's  stories  to 
{accompany  slides.     It  seems  strange  that  after  all  of  the  years 
Ltliat  visual  education  people  have  been  talking  about  pupil  par- 
ticipation, unless  a  teacher  is  given  guidance,  the  visual  educa- 
ition  lesson  is  apt  to  develop  into  a  lecture  by  the  teacher.     We 
Isecure   pupil    participation   by   assigning   slides   3nd   stories   to 
children  or  by  using  the  discussion  method,  following  the  les- 
son with  an  oral  or  written  check  test. 

When  using  films  we  first  provide  the  teacher  with  a  synop- 
sis or  preview  of  the  film.  The  film  is  then  shown,  check  tests 
fcre  given,  followed  by  a  class  discussion.  This  involves  three 
'steps  in  the  educational  process — a  felt  problem,  the  consid- 
eration of  the  problem  in  the  film,  and  checking  knowledge  and 
coming  to  conclusions  through  the  check  test  and  discussion 
period.    Copies  of  check  tests  for  various  films  are  available. 

I  have  often  been  asked  by  administrators  why  we  emphasize 
so  much  the  use  of  lantern  slides,  rather  than  motion  pictures. 
One  reason  for  this  has  been  that  we  must  prepare  ammunition 
to  use  in  existing  guns.  Nearly  al!  of  our  city  elementary 
schools  are  equipped  with  lantern  slide  machines,  and  not  more 
than  twenty  per  cent  have  16  mm.  or  35  mm.  projectors.  Fur- 
thermore, the  lantern  slide  lends  itself  more  readily  to  pupil 
participation  than  the  film. 

Certain  slides  can  be  selected  and  used  over  and  over 
again  without  the  necessity  of  running  through  a  15  min- 
ute film.  Obviously,  I  have  previously  pointed  out,  it  is 
much  better  to  use  a  good  set  of  slides  than  a  poor  film. 
Not  many  satisfactory  films  have  come  into  our  hands. 
As  far  as  sound  films  are  concerned,  there  are  only  one 
or  two  in  the  field  of  safety  that  we  found  satisfactory 
for  elementary  grades.  We  use  sound  films  more  in  the 
high  schools,  but  here  again  a  problem  arises  in  the 
scarcity  of  sound  machines  and  in  the  expense  of  trans- 
porting machines  and  providing  licensed  operators  when  us- 
ing  35   mm.   projectors. 

We  have  been  trying  to  do  what  we  could  to  encourage 
the  establishing  of  a  safety  library  in  state  and  local 
depositories.  There  are  still  many  states  in  which  little 
or  nothing  is  available  for  distribution  to  schools.  Teachers 
in  some  cases  must  send  a  thousand  miles  away  to  get 
materials. 

We  have  been  able  to  convince  several  cities  to  set  up 
similar  projects  with  W.  P.  .'V.  photographers,  artists,  slide 
makers  and  teachers.  There  are  many  good  photographers 
on  relief  roles,  so  that  schools  by  securing  workers  can 
develop  a  visual  education  library  at  a  minimum  cost.  We 
will  be  glad  to  advise  with  directors  of  visual  instruction 
who   are   interested   in    similar   projects. 

One  of  the  encouraging  signs  is  the  number  of  schools 
systems  that  are  now  preparing  amateur  films.  Several 
school  systems  are  co-operating  with  local  cinema  clubs 
in  preparing  scenarios  and  producing  safety  films.  Some 
of  these  are  well  done :  at  least,  they  give  a  local  atmos- 
phere. 

Posters  and   Enlarged  Photographs 

Some  mention  should  be  made  of  the  use  of  posters  and 
enlarged  photographs  in  safety  education.  We  have  eight 
full-time  artists,  in  our  project,  working  on  safety  posters. 
The  posters  are  duplicated  by  three  methods — silk  screen, 
offset  process,  and  photogelatine.  They  are  then  placed 
in   the  hands   of  special   teachers   who   use   them   in   the   700 


schools  of  the  city.  The  silk  screen  methods  affords  an 
opportunity  for  getting  out  three  or  four  color  posters 
in  small  quantities  at  a  minimum  cost,  while  the  offset  and 
photogelatine  processes  are  used  for  larger  quantities. 

Posters  are  used  in  the  school  in  several  ways.  In  some 
cases  a  poster  exhibit  is  set  up  or  a  poster  service  maintained 
on  bulletin  boards.  In  other  cases,  the  poster  is  used  for 
special  safety  lessons.  We  find  that  these  provide  a  good 
method  of  teaching  safety,  but  are  not  usually  as  effective 
as  motion  pictures  or  lantern  slides. 

We  also  use  exhibits  of  enlarged  photographs.  At  first 
we  had  difficulty  in  that  photographs  were  soiled  so  quickly ; 
now,  these  materials  are  covered  with  celophane.  Samples 
of  our  posters  will  be  sent  upon  request  but  we  do  not 
have  photographs   for  use  outside  of  the   city. 

The  use  of  posters  is  sometimes  not  included  in  discus- 
sions about  visual  education.  Yet  we  feel  that  a  supply 
of  posters  going  into  all  school  buildings  in  the  city,  is 
one  of  the  best  ways  of  calling  the  attention  of  teachers 
and  pupils  to  hazards  that  tnay  exist.  Posters  prepared  by 
the  Education  Division,  National  Safety  Council,  by  in- 
surance companies,  and  by  other  agencies  are  often  admir- 
ably suited  to  visual  instruction.  It  is  a  striking  fact 
that  in  New  York  City  alone,  during  the  traffic  safety 
campaign  sponsored  by  the  Police  Department,  nearly 
200,000  posters  were  displayed  in  store  windows  and  other 
public  places  in  a  single  year.  Other  cities  such  as  Chi- 
cago. Detroit,  and  Kansas  City,  have  made  extensive  use 
of  posters,  not  only  in  schools,  but  also  in  public  safety  educa- 
tional campaigns. 

We  must  include  here  the  many  posters  made  in  schools. 
While  they  may  not  have  the  quality  of  commercially  pre- 
pared posters,  they  may  be  even  more  effective  in  teaching 
safety  lessons. 

Sound-Film-Slides 

During  the  last  year  a  sound  film-slide  production  called 
Tatics  No  Holiday,  was  produced  and  made  available  for  use  in 
some  250  cities  in  the  country.  This  film-slide  production, 
while  designed  for  adult  audiences,  has  been  used  very  satis- 
factorily in  high  schools  and  vocational  schools.  Death  Takes 
No  Hotiday  and  the  sound  machines,  may  be  borrowed  from 
Western  Union  offices  in  the  250  larger  cities  of  the  country. 

The  chief  difficulty  with  sound-film-slides,  as  far  as  school 
use  is  concerned,  is  the  scarcity  of  projection  machines 
equipped  with  sound.  While  film  slides  may  not  have 
some  of  the  advantages  of  glass  slides,  they  are  easier 
to  make  and  to  distribute.  A  school  system  equipped,  aj 
we  are,  with  a  35  mm.  camera  can  produce  many  of  its 
own   films. 

Standards  for  Evaluating  Safety  Materials 

In  order  to  keep  our  visual  materials  as  educationally  sound 
as  possible,  we  have  set  up  certain  standards. 
1.    Lantern  Slides  and  Film  Strip 

a.  Pictures  used  and  activities  shown  should  fit  the  grade 
level  in  which  they  are  to  be  used. 

b.  Positive  safety  activities  have  a  greater  educational  value 
than  negative — slides  should  show  the  right  way  to  do  things. 

c.  Colored  slides  in  three  colors  have  more  of  an  appeal  than 
black  and  white. 

d.  Photographs  of  children's  activities  have  more  interest 
than  poster  slides. 

e.  Pupil  participation  through  discussion  and  testing  insures 
greater  learning  than  a  slide  presentation  given  entirely  by  the 
teacher.  Story  lessons  used  with  slides  secure  more  interest 
than  purely  descriptive  lessons. 

f.  Slides  should  be  used  seasonally,  stressing  the  kind  of 
safety  most  important  during  that  month.  We  have  sets  of 
slides  for  each  month,  prepared  from  master  slides. 


Page  84 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


The  Educational  Screen 


2.     Motion  Pictures 

I  have  previously  mentioned  the  unsatisfactory  quality  of 
safety  films  now  being  used  in  many  school  systems.  Most  of 
these  lack  educational  value.  In  the  preparation  of  films,  we 
have  used  some  guiding  principles. 

a.  The  scenarios  shall  be  prepared  by  educators.  If  the 
schools  are  to  use  the  material  it  must  be  sound. 

b.  The  film  should  fit  the  age  of  children  for  which  it  is  to 
be  used. 

c.  It  should  be  treated  positively,  or  if  the  negative  approach 


is  used  in  any  part,  it  should  be  followed  by  the  positive. 

d.  Standard  quality  of  titles  should  be  used  to  fit  the  read- 
ing vocabulary  of  children. 

e.  Previews  or  descriptions  of  the  film  should  be  available 
and  also  check  tests  or  questions  for  discussion.  We  prefer 
to  use  films  in  classrooms  rather  than  with  large  groups  in 
the  assembly  hall.  One  of  the  few  examples  of  a  highly  suc- 
cessful commercial  film  is  a  fire  prevention  production  77ii: 
Bad  Master  which  meets  the  standard  that  has  been  set. 


What  Next  in  Visual  Education? 


FOR  YEARS  the  progress  of  visual  instruction  has  been 
largely  in  mechanics.  Engineers  have  built  projection 
equipment  for  slides,  motion  pictures,  etc.,  and  over 
a  period  of  years  such  equipment  has  been  perfected  so  that 
it  can  be  easily  operated  by  children  in  the  classroom. 
Advances  in  the  art  of  photography  and  in  printing  have 
also  made  possible  finer  pictures  at  lower  cost.  Therefore, 
the  first  era  of  progress  in  visual  instruction  can  be  said 
to  have  had  its  main  spring  in  engineering.  It  is  my  firm 
belief  that  the  next  era  of  progress  will  find  its  main 
spring  in  the  classroom.  In  other  words,  the  dynamics 
of   action   will   be   the   classroom   teacher. 

The  first  motion  pictures  which  were  produced  for  school 
use  were  made  either  by  arm  chair  theorists  or  individuals 
not  closely  connected  with  teaching.  However,  the  tech- 
niques in  photography  both  still  and  motion  have  be- 
come so  simplified  that  almost  anyone  can  make  successful 
pictures.  Today  it  is  becoming  increasingly  common  to  find 
films  which  have  been  made  by  teachers  themselves  for 
the  purpose  of  instructing  their  own  classes.  The  situation 
in  visual  instruction  is  parallel  to  the  development  of  text- 
books. The  best  textbooks  grow  out  of  classroom  experi- 
ence and  are  prepared  with  the  aid  of  pedagogical  experts 
in  close  co-operation  with  classroom  teachers.  The  teach- 
ers with  intelligent  ideas  on  the  visualization  of  their  teach- 
ing needs  can  make  a  satisfactory  picture  for  illustrative 
purposes.  It  is  apparent  that  soon  companies  will  take 
this  teacher-made  material  and  revamp  it,  edit  it  and 
manufacture  it  in  quantity  on  a  quality  basis  just  as  text 
materials  are  also  being  produced.  Anyone  who  is  at  all 
familiar  with  the  newer  procedures  in  instruction  such  as 
unit  instruction  and  the  activity  program,  recognizes  that 
more  and  more  concrete  materials  are  being  used  in  the  in- 
structional procedure.  However,  no  commerical  house  has 
yet  come  into  existence  which  specializes  in  what  might  be 
called  materials  for  unit  and  activity  teaching. 

The  demand  for  such  materials  is  increasing  and  at  pres- 
ent the  demand  is  not  being  met  because  of  the  scattered 
nature  of  materials  available.  This  makes  it  necessary  for 
a  genuine  clearing  house  for  visual  instruction  material  to 
be  established.  This  clearing  house  should  not  deal  solelv 
with  the  motion  picture  but  should  cover  all  tvpes  of  con- 
crete materials  which  will  be  of  assistance  to  teachers  in 
their  classwork. 

Visual  instruction  has  long  since  passed  the  bally-hoo 
stage.  The  question  that  constantly  is  being  raised  is  where 
can  we  get  material.  No  one  needs  to  be  sold  on  the  value 
of  visual  material,  rather  the  question  is  how  and  where 
can  we  get  what  we  want. 

A  thorough  study  of  the  economy  of  using  visual  aids   i 
needed.     When  materials  arc   produced  which  are  desirable 
one   hears   the   question   raised   "But   can     I     afford    them?" 
Unfortunately  visual  instruction  has  been  looked  upon  as  an 


By     F.     DEAN     McCLUSKY 

Scarborough     School,    Scarborough-on-the-Hudson,     N.    Y. 

addition  to  the  regular  school  budget  and  has  been  so 
treated.  Visual  materials  properly  used  can  be  shown  to 
save  money  in  present  school  budgets.  For  example,  the 
science  teacher  instead  of  asking  for  films  in  addition  to  his 
regular  science  budget  should  attack  the  problem  from  the 
standpoint  of  demonstrating  to  his  principal  where  these 
films  will  save  money  in  the  budget. 

I  recently  asked  my  biology  instructor  to  make  such  a 
study  of  the  teaching  of  a  thorough  year's  course  at  "Col- 
lege Board  level"  in  high  school  biology.  We  started  with 
the  assumption  that  he  had  no  equipment  whatever — just  a 
classroom.  The  teacher,  a  successful  instructor,  first  with 
the  aid  of  an  expert  lay  accountant  checked  through  every 
item  of  cost  in  teaching  a  first  class  biology  high  school 
course  with  the  standard  equipment,  much  of  it  visual. 
Prices  were  figured  on  the  basis  of  standard  catalogue  prices. 
He  then  made  a  list  of  all  the  equipment  that  would  be 
needed  to  teach  the  same  course  with  unit  organization  and 
visual  materials.  This  equipment  included  the  cost  of  pro- 
jection equipment,  films  purchased  outright,  slides  purchased 
outright  and  charts  and  other  visual  materials.  Standard 
prices  were  used  throughout  and  it  was  found  at  the  end 
that  the  visually-taught  unit-activity  course  could  be 
equipped  for  $400  less  capital  than  the  other,  and  that  a 
saving  of  $140  annually  was  to  be  made  in  its  operation.  It 
is  the  opinion  of  the  instructor  that  with  visualized  projec- 
tion materials  he  could  teach  twice  as  many  students  as  ef- 
fectively as  he  could  teach  the  class  of  25.  A  class  of  25 
was  the  unit  used  in  the  study. 

This  type  of  approach  to  visual  instruction  should  be 
pursued  vigorously  in  all  courses.  For  example,  it  has  been 
found  that  map  slides  can  be  made  commercially  for  from 
$1  to  $1.50  which  are  comparable  to  or  better  than  roll  wall 
maps  which  cost  from  $5  to  $10.  Pupil-made  map  slides 
can  be  produced  for  from  3  cents  to  5  cents  each,  which 
constitutes  considerable  saving  over  the  commercial  photo- 
graphic map  slides.  Similarly  charts  and  diagrams  which 
are  used  extensively  in  many  courses,  such  as  history,  sci- 
ence, mathematics,  and  which  range  from  50  cents  up  to  sev- 
eral dollars  in  price  can  be  reproduced  on  slides  for  a  few 
cents.  In  other  words,  $10  spent  on  a  single  roll  wall  map 
or  chart  would  buy  from  10  to  100  similar  charts  on  slides. 
These  ideas,  of  course,  are  not  new  to  anyone  who  has  made 
a  study  of  projection  equipment  and  its  advantages  but  as 
yet  there  has  been  no  efficient  analysis  of  classroom  mater- 
ials from  the  point  of  view  of  showing  how  projection 
equipment  or  visual  materials  can  save  money  and  keep 
within  our  present  budgets.  When  visual  instruction  is 
approached  from  the  standpoint  of  saving  money  and  not 
from  the  point  of  adding  expense  to  the  present  school 
course  progress  will  be  rapid.  "What  Next  in  Visual  In- 
struction ?"  Watch  the  teacher !  Watch  the  classroom 
teacher! 


trch,  1936 


Page  85 


Depdrtment  of  Visual  Instruction 


Conducted  by  E.  C.  WAGGONER,  Secretary-Treasurer 


St.  Louis  Meeting 

f'So  close  to  the  forest  we  can't  see  the  trees." 

"or  many  months  preceding,  the  work  of  the  De- 
partment of  Visual  Instruction  of  the  National  Edu- 
cation Association  so  completely  occupied  our  minds 
that  it  was  impossible  to  make  a  rational  guess  as  to 
what  the  St.  Louis  meetings  would  be  or  mean.  Now 
that  the  meeting  is  a  thing  of  the  past  and  we  have 
had  time  to  reflect  on  the  varied  elements  of  the  two- 
day  proceedings,  as  well  as  to  get  the  reactions  of 
many  of  those  who  attended,  we  are  happy  to  report 
that  the  real  signs  of  Department  life  are  beginning  to 
be  manifest.  It  was  an  occasion  of  promise,  but  what 
ultimate  results  can  follow  the  promise  is  a  question 
still  on  the  knees  of  the  gods. 

The  number  attending  and  the  spirit  shown  at  the 
"Get-together"  luncheon  on  Monday  were  an  inspira- 
tion to  all  who  had  helped  in  any  way  to  plan  the  af- 
fair. Two  score  were  expected ;  places  for  three  score 
were  hopefully  set ;  tables  had  to  be  added  to  seat  four 
score ;  and  a  half  dozen  were  turned  away.  Luncheon. 
attendance  of  eighty-six,  and  attendance  on  sessions 
ranging  from  forty  to  a  hundred-fifteen,  are  by  no 
means  discouraging. 

Throughout  the  program  generally,  participants 
handled  their  subjects  in  stimulating  style.  Keen  in- 
terest was  evident  in  all  addresses  and  demonstrations. 
It  was  difficult  to  keep  within  the  time  limit  assigned 
for  parts  of  the  program  particularly  provocative  of 
elaboration  and  discussion.  The  interesting  Sympos- 
ium of  Wednesday  afternoon,  which  concluded  the 
sessions,  definitely  suffered  because  there  are  only  two 
and  a  half  hours  in  two  and  a  half  hours. 

Obviously,  in  view  of  the  unquestioned  importance 
of  its  subject,  the  Department  of  Visual  Instruction 
should  be  one  of  the  most  active  and  prominent  de- 
partments of  the  National  Education  Association,  and 
the  writer  predicts  that  it  will  become  just  such  a  de- 
partment, if  the  interest  shown  at  St.  Louis  is  any 
basis  for  judgment.  Certainly  the  President  of  the 
Department  is  entitled  to  feel  real  satisfaction  over  the 
St.  Louis  meetings,  and  no  one  knows  better  than  the 
writer  the  hours  of  effort  he  spent  in  preparation. 

We  want  to  thank  officially  all  those  readers  of  The 
Educational  Screen  who  contributed  in  any  way  to 


the  success  at  St.  Louis.  We  confidently  hope  that  we 
may  count  on  the  same  enthusiastic  support  for  the 
next  meeting.  A  like  combined  and  whole-hearted  ef- 
fort can  produce  a  still  bigger  and  better  meeting  at 
Portland,  Oregon,  June  29  to  July  1  next. 


"The  D  V  I  Caravan" 

It  is  a  bit  of  a  jump  to  Portland — but  the  Depart- 
ment will  not  let  a  few  thousand  miles  interfere  with 
its  progress.  We  can  make  Portland  beat  St.  Louis. 
The  West  will  be  there  in  numbers.  For  the  East  it 
means  plane,  train,  bus,  or  something  better.  We  sug- 
gest gasoline  and  psychology,  nothing  more,  and  the 
greater  of  these  is  psychology. 

Let's  make  it  a  jaunt  instead  of  a  job.  Two  weeks 
will  do  it.  Three  or  four  weeks  would  be  still  wiser. 
The  two-day  sessions  will  be  merely  a  worthwhile  in- 
cident in  a  vacation  wholly  worthwhile.  Those  who 
have  driven  the  trip  already  will  need  no  urging  to 
repeat.  Those  who  have  not  yet  seen  the  great  North- 
west owe  it  to  themselves.  They  can  pay  the  debt  this 
June,  and  enjoy  the  paying.  For  "seeing"  country,  the 
automobile  has  no  equal  and,  incidentally,  members  of 
this  Department  may  most  appropriately  treat  them- 
selves to  a  little  visual  instruction  in  its  most  perfect 
form. 

It  is  proposed  then,  that  at  or  about  8  A.  M.,  on  or 
about  June  23rd,  "The  D  V  I  Caravan"  of  an  at-pres- 
ent-unknown  number  of  cars,  start  from  Chicago  over 
a  carefully  scheduled  route,  reach  Portland  together 
about  June  28th — Department  sessions  June  29th  to 
July  1st — and  return  fast  or  slow,  every  car  for  itself, 
over  any  one  of  the  half  dozen  different  routes,  as  the 
individual's  spirit  moves. 

This  page,  in  the  next  two  issues,  will  carry  full  de- 
tails on  route,  schedules,  and  arrangements,  together 
with  features  now  in  incubation  calculated  to  add  in- 
teresting memorabilia  to  the  trip.  But  the  important 
thing  just  now — a  prompt  word  from  every  member 
who  sees  even  a  faint  chance  of  joining  "The  D  V  I 
Caravan".  We  want  a  sampling  of  Department  opin- 
ion on  the  plan.    Write  us  a  word  now. 


Page  86 


The  Educational  Scree 


The  Film  Estimates 


Ah  Wilderness  (Lionel  Barrymore,  Wallace 
Beery)  (MGM)  Eugene  O'Neiirs  play  finely 
screened  with  rich  characterization  and  wiatful 
charm.  Barrymore  splendid  as  father  trying  to 
handle  dreamer-son's  mental  indigestion.  True- 
to-life  picture  of  village  life  of  early  1900*8. 
Beery  alone  inadequate.  2-25-36 

(A)  Notable  (Y)  Good  (C)  Little  interest 

Another  Face  (Wallace  Ford,  Brian  Donlevy) 
(RKO)  Tough  killer,  after  facial  surgery,  crude 
and  stupidly  conceited,  tries  to  crash  Holly- 
wood as  movie  star.  Breezy,  erratic  publicity 
man  works  his  undoing.  Acting  ordinary,  sup- 
posed comedy  often  quite  unfunny,  and  fast 
action  is  overdone.  2-17-36 

(A)  Hardly  (Y)  Probably  good  (C)  No 

Anything  Goes  (Bing  Crosby,  Ethel  Merman) 
(Para)  Fast,  crazy,  complex  farce-comedy  with 
real  "box-office"*  novelty.  Usual  "singing",  ab- 
surd *'lyrics",  spectacular  dancing,  ''romance", 
and  burlesque  antics.  Inoffensive  unless  chronic 
crook  masquerading  as  priest.  Typical  present- 
day  taste  in  pictures.  2-11-36 
(A)  (Y)  Very  good  of  kind         (C)  Probably  good 

Bar  20  Rides  Again  (Bill  Boyd,  Wm.  Allison) 
(Para)  Above  average  Hopalong  Cassidy  west- 
ern. Beside  usual  thrills,  traces  of  originality 
in  hero  doing  his  hard  riding  and  quick  shoot- 
ing in  frock  coat,  a  villain  suave  instead  of 
tough,  and  a  minor  character  that  is  actually 
humorous.  2-11-36 

(A)  Hardly    (Y)  Good  of  kind    (C)  Good  thriller 

Bohemian  Girl,  The  ( Laurel  and  Hardy )  ( MGM) 
Very  funny  nonsense  comedy,  with  real  story, 
elaborate  sets,  and  with  Laurel  &  Hardy  antics 
at  their  best  and  some  new  ones  added.  Fa- 
vorite melodies  of  the  opera  pleasantly  played 
and  sung.  Cheapened  by  pocket-picking  and 
burlesque  infidelity  as  laugh  sources.  2-25-36 
(A)  Good  of  kind  (Y)(C)  Very  amusing 

Ceiling  Zero  (Cagney  and  O'Brien)  (Warner) 
Utterly  smart-aleck,  daredevil  aviator  tricks  his 
pals,  seduces  women,  ruins  friends,  but  finally 
dies  in  heroic  sacrifice  testing  out  new  inven- 
tion. Loud,  wisecrack  dialog  ;  cheap,  suggestive 
romance ;  but  tense,  vivid  picture  of  perilous 
mail-transport  service.  2-17-36 

(A)  Very  good  of  kind      (Y)  Better  not      (C)  No 

Charlie  Chan's  Secret  (Warner  Oland)  (Fox) 
Typical  and  good  Charlie  Chan  story,  with 
Chinese  hero  solving  unusual  murder  in  his 
original  fashion,  in  a  creepy  atmosphere  of 
spiritualistic  sceances.  The  veteran  actress, 
Henrietta  Grossman,  adds  much  to  the  quality 
of  the  production.  2-17-36 

(A)  (Y)  Good  of  kind         (C)  Unless  too  exciting 

Dangerous  Intrigue  (Ralph  Bellamy,  Gloria 
Shea)  (Columbia)  Thoroughly  unoriginal  story 
of  brilliant  surgeon  losing  position  and  snob- 
bish fiancee,  and  ending  up  in  factory  com- 
munity as  surgeon  to  the  poor  and  husband  to 
one  of  them.  Well  acted,  convincingly  told, 
and  of  genuinely  human  appeal.  2-25-36 

(A)  Fair  (Y)  Fairly  good  (C)  Hardly 

Dangerous  Waters  (Jack  Holt)  (Univ.)  Fire  at 
sea,  mutinous  crew,  and  crooked  financiers 
fail  to  prevent  hero's  rise  to  ship-captaincy. 
Heroism  less  blatant  and  comedy  more  comic 
than  in  usual  Holt  film,  but  the  cheap  philan- 
derings  of  the  hero's  cheap  wife  make  cheap 
"romance".  3-3-36 

(A)  Waste  of  time  (Y)  No  (C)  No 

Desire  (Marlene  Dietrich,  Gary  Cooper) 
(Para.)  Mostly  skillful  crook  drama,  smoothly 
played,  and  with  real  comedy  values.  Then,  a 
glamorous  seduction  and  week's  liaison  fur- 
nishes same  old  "sex-stuff**  of  a  few  years 
ago.  Dietrich,  absurdly  made  up,  acts  typi- 
cally. Cooper  good.  3-3-36 
(A)  Good  of  kind       (Y)  Unwholesome       (C)  No 

Dressed  to  Thrill  (Clive  Brook,  Tutta  Rolf) 
(Fox)  Continental  comedy,  dating  from  World 
War,  with  dual  identity  of  heroine  causing  the 
hero  considerable  distress  until  he  finally  learns 
the  truth.  Tutta  Rolf  notably  good.  Clive 
Brook  utterly  miscast,  and  some  of  his  comedy 
attempts  are  pitiful.  2-25-36 

(A)  Fair  (Y)  Not  the  best  (C)  No 

Every  Saturday  Night  (Jed  Prouty,  Spring 
Byington)  (Fox)  One  of  series  planned  in  do- 
mestic comedies,  supposedly  treating  family 
problems.  Well-intentioned  story  of  spoiled 
children  and  futile  father,  but  dull  acting, 
confused  motivation,  stupid  ethics,  and  much 
talk   detract  somewhat.  3-3-36 

(A)  Dull  (Y)  Poor  (C)  No 

Fang  and  Claw  (Frank  Buck)  (RKO)  Thrill- 
ing, informative  record  of  Buck's  expedition  to 
Malayan  jungle  to  bring  back  animals  for 
American  zoos.  By  ingenious  methods,  pythons, 
monkeys,  tigers,  etc.  are  captured.  Notable  for 
absence  of  brutal  scenes.  Excellent  photography, 
good  narration,  and  occasional  humor.  2-25-36 
(A)  Interesting  (Y)  Excellent  (C)  Good 


Being  the  Combined  Judgments  of  a  Notional  Committee  on  Current  Theatrical  Films 

(The  Film  Estimates,  In  whole  or  In  part,  may  be  reprinted 

only  by  special   arrangement  with  The   Educational   Screen) 

Date    of   mailing    on    weeltiy    service    is    shown    on    each    film. 

(A)  Discriminating   Adults  (Y)  Youth  (C)  Children 


Follow  the  Fleet  (Fred  Astaire.  Ginger  Rog- 
ers) (RKO)  Pleasing  musical  comedy  in  best 
vein,  with  engaging  hero  as  breezy  gob  win- 
ning heroine  after  amusing  complications. 
Refreshingly  novel  dances,  solo  and  ensemble 
singing,  wholesome  romance,  genuine  comedy. 
Good  fun.  3-3-36 

(A)  Excellent  (Y)  Excellent  (C)  Good 

Freshman  Love  (Frank  McHugh,  Patricia  El- 
lis) (Warner)  Easily  most  inane  and  senseless 
"college"  film  to  date.  President's  daughter 
vamps  great  rowers  away  from  other  colleges 
to  win  crucial  race  with  jazz  band  furnishing 
needed  rhythm.  Thick  with  absurdities  on 
college   life  and   administration.  3-10-36 

(A)  Ridiculous  (Y|  Useless  (C)  No 

Ghost  Goes  West  (Robert  Donat,  Jean  Parker) 
(UA)  English-made  farce-comedy  of  whimsy 
and  satire,  with  original  plot  and  Rene  Clair 
direction  (but  not  his  best),  about  old  Scotch 
ghost  doomed  to  walk  till  insult  by  rival  clan 
is  avenged.  Weakened  by  clash  of  banal  with 
the  fanciful,  but  unique.  2-11-36 

(A)  Fairly  good  (Y)  Good  (C)  Fair 

The  Invisible  Ray  (Karloflf  and  Lugosi)  (Univ) 
Just  another  lurid,  pseudo-scientific  thriller, 
gratuitously  horrible,  about  scientist  who  dis- 
covers fantastic  deadly  ray,  goes  insane,  and 
starts  killing  former  friends.  His  mother 
finally  kills  him.  KarlofT  and  Lugosi  exactly 
as  usual.  2-17-36 

(A)  Useless  (Y)  Exciting  (C)  No 

It  Had  to  Happen  (George  Raft,  Rosalind 
Russell)  (Columbia)  Immigrant  ditch-digger 
rises,  by  cheap  smartness  and  rough-neck  he- 
roics, to  brazen  supremacy  in  city  politics  and 
wins  richest  woman  in  New  York  society. 
Unplausible  and  ethics  twisted.  Usual  Raft 
"acting"  and   English.  3-3-36 

(A)  Depends  on  taste       (Y)  Better  not        C)  No 

It*s  a  Great  Life  (Joe  Morrison,  Paul  Kelly) 
( Para )  Mildly  amusing  little  picture  of  two 
CCC_  boys  in  love  with  same  girl  until  one 
heroically  gives  way  to  the  other.  Some  slight 
idea  of  CCC  camp  life  and  some  really  enjoy- 
able singing.  Elementary  but  pleasant  pro- 
gram picture.  2-11-36 
(A)  (Y)  Fairly  good                                        (C)  Fair 

Kind  Lady  (Aline  MacMahon,  Basil  Rathbone) 
(MGM )  Opens  appealingly  as  charming  play 
of  character.  Becomes  artificial  yarn  of  hu- 
morless crookedness,  with  unmitigated  distress 
for  helpless  heroine  and  audience.  Depressing 
swindle  with  slight  relief  at  the  end.  The 
antithesis  of  entertainment.  2-11-36 

(A)  Dismal  (Y)  Painful  (C)  No 

Klondike  Annie  (Mae  West)  (Para.)  Brazen 
box-oflice  bid  with  the  old  se.\  stuff.  Mae  West 
again  the  glittering,  mouthing  vulgarian.  Kills 
her  Chinese  paramour,  flees  to  Alaska,  imper- 
sonating grotesquely  a  religious  *'sister"  who 
died  on  voyage.  Affront  to  good  taste  and 
decency.  3-10-36 

(A)  Disgusting  (Y)  Unwholesome  (C)  No 

The  Lady  Consents  (Ann  Harding,  Herbert 
Marshall)  (RKO)  Thoroughly  enjoyable  problem 
play,  intelligently  done  by  author,  director  and 
actors.  Very  sophisticated  and  "modern"  but 
dignified.  The  "other  woman's"  machinations 
are  convincingly  successful,  and  the  conclusion 
just  as  convincingly  logical.  2-11-36 

(A)  Interesting  (Y)  Doubtful  (C)  No 

Lady  of  Secrets  (Ruth  Chatterton.  Otto  Kru- 
ger)  (Columbia)  Slow-moving  but  intriguing 
story  of  rich  girl's  long  struggle  against  dom- 
ineering father.  Thwarted  by  death  of  her 
war-time  lover,  she  manages  t»  save  her 
daughter  from  loveless  marriage  and  wins  hap- 
piness herself  at  last.  3-3-36 
(A)  Good           (Y)  Doubtful           (C)  No  interest 

The  Leavenworth  Case  (Donald  Cook,  Norman 
Foster)  (Republic)  Feeble  murder  story  of 
slight  suspense  or  interest.  Audience  knows 
murderer  who  kills  with  aid  of  monkey.  Chief 
interest,  amusing  eccentric  spinster  who  helps 
weak  detective  trap  killer.  Crude,  overdone 
comedy  by  Warren  Hvmer.  2-17-36 

(A)  Mediocre  (Y)  Perhaps  (C)  No 

The  Lone  Wolf  Returns  (Melvyn  Douglas, 
Gail  Patrick)  (Columbia)  Smoothly  acted 
Vance  story  of  jewel  thief  who  fell  in  love  with 
intended  victim,  and  outwits  gang  aiming  at 
same  victim.  Detective  forces  furnish  comedy. 
Original  angles  lift  it  above  ordinary  "button- 
button"  yarn.  2-17-36 
(A)  Good  of  kind     (Y)  Good     (C)  Little  interest 


Love  on  a  Bet  (Gene  Raymond,  Wendy  Bar- 
rie)  (RKO)  Outlandish  bet  starts  hero  from 
New  York  in  underwear  and  without  money, 
to  end  up  in  Los  Angeles  with  money,  clothes, 
and  rich  fiancee.  Artificial  and  labored  fun 
for  those  who  laugh  easily.  Acting  mostly  of 
slight  merit.  3-3-36 

(A)  Hardly     (Y)  P rob.  good     (C)  Little  interest 

Man  of  Iron  (Barton  MacLane,  Mary  Astor) 
(1st  Natl  I  Dull,  unconvincing  stuff  about  crude, 
illiterate  shop-foreman  promoted  to  manager ! 
A  misfit,  but  heroism  in  shop  accident  makes 
him  vice-president !  His  irresponsibility  and 
arrogance  toward  workers  bring  near  strike 
and  riot.     So  back  to  shop  job.  2-17-36 

(A)  Poor  (Y)  Poor  (C)  No 

The  Milky  Way  (Harold  Lloyd)  (Para.) 
Laughable,  crazy  farce  about  milkman  hero 
absurdly  developed  into  champion  prizefighter. 
Lloyd's  genius  for  hilarious  situations  and 
pantomime  antics  evident  throughout,  but 
hampered  by  sound  and  speech,  loud  and  fu- 
tile. Menjou  miscast.  3-10-36 
(A)  Good  of  kind          (Y)  Amusing          (C)  Good 

Modern  Times  (Charlie  Chaplin)  (U.  A.)  A 
great  film,  delightfully  amusing,  with  sound 
and  music  but  no  dialog.  Chaplin  as  same 
wistful  hero  seeking  his  niche  in  the  complex 
modern  world.  Same  costume,  antics,  and 
matchless  pantomime,  proving  Chaplin's  silence 
as  potent  as  Hollywood's  speech.  2-25-36 

(A)  Excellent        (Y)  Excellent        (C)  Excellent 

The  Music  Goes  'Round  (Harry  Richman, 
Rochelle  Hudson)  (Columbia)  Far-fetched  song- 
and-dance  hodge-podge,  ail  Richman.  Broad- 
way actor  goes  vacationing,  meets  river  show- 
boat troup  nearly  broke,  saves  enterprise  and 
wins  heroine.  Must  like  Richman  much  to 
like  picture  a  litfle.  3-10-36 

(A)  Mediocre      (Y)  Perhaps      (C)  Little  interest 

Muss  'Em  Up  (Preston  Foster,  Alan  Mowbray) 
(RKO)  Vigorous  yarn  about  hard-boiled,  un- 
scrupulous detective,  feeble  police,  smooth  vil- 
lainy, and  countless  suspects.  Hopelessly  complex 
mixture  of  mystery,  comedy,  romance  and  poor 
taste,  that  leaves  audience  wondering  what  it  is 
all  about.  Overshoots  its  mark  badly.  2-25-36 
(A)  Only  fair  (Y)  No  (C)  No 

The  New  Gulliver  (Russian  production)  (Am- 
kino)  Extraordinary  novelty  film  presenting 
Swift's  classic  with  one  living  actor  and  count- 
less remarkable  puppets.  Painstaking,  thought- 
ful, striking.  But  shuddery  puppet  motions 
tire,  and  usual  Soviet  propaganda  permeates 
and  deadens  whole.  3-3-36 

(A)  Novel  (Y)  Novel  (C)  Perhaps 

Passing  oftheThird  Floor  Back  (Conrad  Veidt) 
(Gau.-Brit. )  Excellent  filming  of  famous  alle- 
gorical d]:ama  about  mysterious  stranger  and 
his  influence  for  good  over  selfish,  unhappy 
members  of  London  boarding-house,  till  their 
awakening  is  achieved.  Some  weaknesses  but 
well  acted  and  effective  as  a  whole.  2-25-36 
(A)  Very  good    (Y)  Very  good    (C)  Beyond  them 

Professional  Soldier  (Victor  McLaglen,  Fred- 
die Bartholomew)  (Fox)  Crude,  tough  Marine, 
hired  to  kidnap  boy  king,  turns  friend,  runs 
amuck  in  slaughter,  and  saves  his  little  pal- 
Much  strong  human  appeal,  but  largely  rough- 
neck comedy  and  two-fisted  heroics.  Bad  taste 
but  good  box-office.  2-11-36 

(A)  Depends  on  taste        (Y)  Doubtful        (C)  No 

Return  of  Jimmy  Valentine  (Roger  Pryor, 
Charlotte  Henry)  (Republic)  Newspaper-report- 
er hero,  not  over  blatant,  engineers  exciting 
search  for  famous  crook  now  incog  as  highly 
respected  bank  president.  Lively  complications 
when  daughter  nearly  betrays  her  father  un- 
wittingly, but  all  ends  well.  3-10-36 
(A)  Good  of  kind          (Y)  Good          (C)  Exciting 

Show  Them  No  Mercy  (C.  Romero,  R.  Hud- 
son) (Fox)  G-man  thriller,  to  outdo  all  others, 
with  absurd  spots,  but  packed  with  suspense, 
mildly  amusing  comedy,  and  makes  kidnappers 
hated  and  G-men  admired.  But  it  seriously 
overdoes  sheer  violence  and  inhuman  cruelty. 
Pushes  thrill   to  unhealthv  shock.  2-11-36 

(A)  Good  of  kind  (Y)  Better  not  (C)  No 

Too  Tough  to  Kill  (Victor  Jory,  Sally  O'Neill) 
(Columbia)  Engineer-hero  becomes  boss  of 
huge  tunnel  project,  long  delayed  bv  trickery 
and  foul  play  of  employees  "planted"  bv  rival 
company.  Many  accidents,  but  hero  finally  con- 
quers job.  and  persistent  newspaper  heroine. 
Old-style  melodramatic  hokum.  2-17-36 

(A)  Hardly  (Y)  Harmless  (C)  Better  not 


larch,  19}  6 


Page  87 


Among  the  Magazines  and  Book: 


School  Executives  (January,  '36)  "Fundanienlals 
\'isual  Education,''  by  J.  Raymond  Hutchinson. 

'Visual  Instruction  is  that  type  of  instruction  which 
gives   actuality   to   ideas,   concrete   rather   than    verbal 
imag^ery,   and  expression   rather  than   theory. 
The  true  conce]3tion  of   the   use  and   value  of   visual 

Kd  audio-visual  aids  must  be  established  to  assist  in 
ieting  existing  educational  needs."  It  is  urged  that 
teachers  in  active  work  be  given  courses,  established 
their  own  school  system  for  credit.  Eight  fields  in 
ch  a  course  are  specified.  A  teacher's  personal 
ability  is  enhanced  by  such  preparation.  .\  "controlled 
reality''  in  film  study  is  often  necessary. 

The  necessity  for  the  organization  of  departments 
of  Visual  Education  is  stressed.  A  survey  in  one  state 
of  205  schools  indicated  79%  possessed  lanterns,  48% 
possessed  16  mm.  motion  picture  projectors,  and  .39% 
possessed  35  mm.  projectors.  Two  schools  had  sound 
equipment.  Harmonious  cooperation  with  the  whole 
school  system  is  all  im]iortant.  Suggestions  are  made 
for  obtaining  materials,  and  the  opportunity  of  visual 
departments  to  interpret  the  school  system  to  the  pub- 
lic is  clearly  indicated. 

Visual  Education  News,  (January,  '36)  "Devel- 
oj)nients  in  \'isual  Education",  by  Eugene  H.  Her- 
rington. 

Our  modern  educational  objective  of  purposeful 
liying  and  experiencing  is  partially  met  by  the  use 
of  still  i)ictures,  model  houses,  and  moving  pictures. 
Visual  learning  as  one  of  the  oldest  forms  of  learn- 
ing is  historically  treated  by  references  to  Egypt, 
Greece,  Rome,  the  parables  of  Christ,  and  the  field 
trips  of  early  tutors.  "The  activity  school  has 
placed  new  emphasis  on  visual  aids  in  the  class- 
room. The  most  modern  means  of  showing  pic- 
tures is  by  .  .  .  throwing  the  picture  on  the  screen 
.  .  .  The  modern  motion  picture  has  been  called 
the  'Modern  Goliath'.  .  .  .  Over  one  hundred  ex- 
periments have  been  carried  on  in  this  and  foreign 
countries  in  eiTorts  to  determine  the  values  of  vis- 
ual learning  as  compared  to  the  auditory  and  read- 
ing methods  alone."  A  composite  study  was  made 
of  all  these  experiments  by  a  student  at  Duke  Uni- 
versity. The  analysis  reveals  that  permanence  of 
learning  is  increased,  backward  children  are  aided, 
and  learning  is  motivated  through  greater  interest, 
attention,  self  activity,  voluntary  reading,  and  class- 
room participation.  A  succinct  but  comprehensive 
summary  of  the  Payne  Fund  Studies  is  included  in 
the  article. 

State  Superintendent  of  Public  Instruction,  Inez 
Johnson  Lewis,  is  cjuoted  as  saying:  "The  romance 
and  realism  of  visual  instruction  when  intelligently 
and  skillfully  presented  will  undoubtedly  stimu- 
late and  make  vivid  the  teaching  in  the  modern 
school.  Visual  education  is  here  and  it  remains  for 
the   teachers   to   refine   and    utilize    the    resources 


Conducted  by  STELLA  EVELYN  MYERS  I 

available.  The  motion  picture  in  the  classroom  has 
passed  the  experimental  stage,  it  has  proved  itself 
to  be  an  eflfective  teaching  aid.  The  seeing-hearing- 
doing  method  is  the  modern  technique  in  teaching. 
.  .  .  The  time  has  come  now  for  a  definite  move- 
ment by  the  teachers  themselves  to  learn  the  cor- 
rect technique  in  the  use  of  visual  aids.  Every 
teacher  who  has  pride  in  doing  the  best  possible 
job  will  make  it  part. of  this  year's  program  to  study 
the  field  and  discover  how^  the  aids  may  be  put  to 
use  in  the  particular  subjects  for  which  he  is  re- 
sponsible." 

International  Journal  of  Religious  Education 
(January,  '36)  "Increasing  Motion  Picture  Appre- 
ciation Among  Youth,"  by  Elizabeth  Watson  Pol- 
lard. 

The  theme  of  the  article  is  expressed  in  the  first 
sentence,  "That  children  and  young  people  should 
be  aided  in  analyzing  and  evaluating  the  motion 
pictures  which  they  attend  is  a  most  obvious  truth." 
To  aid  in  the  analysis,  two  columns  of  "Contrast- 
ing Elements  for  Motion  Picture  Study''  are  pre- 
sented. "Commonplace  Picture  (Clever)"  is  con- 
trasted with  "Picture  of  Unusual  Merit  (Artistic)"; 
"Bad  Taste  (Slightly  lowered  tone)"  is  contrasted 
with  "High  Moral  Tone  (High  tone  without  being 
moralistic)."  "Children  may  need  to  be  trained  to 
distinguish  clearly  between  vulgar  fun  and  clean 
fun.  We  are  especially  anxious  to  have  the  young 
people  under  our  guidance  voluntarily  shop  for 
movies  of  high  moral  tone.  .  .  .  Pictures  obviously 
in  bad  taste.  .  .  .  Mae  West  pictures  and  the  like, 
probably  have  little  effect  on  the  young  people  who 
attend  our  churches.  Where  diiTering  moral  stand- 
ards are  clearly  recognized,  the  dangers  are  at  a 
minimum."  It  appears  to  this  department  that  our 
reasoning  and  our  psychology  need  to  be  consid- 
erably clarified  in  this  field  of  film  evaluation.  Does 
it  mean  much  for  a  child  to  rate  a  picture  as  of 
"High  Moral  Tone"?  Or  to  call  another  "Artistic"? 
Of  course,  he  is  guided  through  discussions,  but  we 
wonder  if  the  subjection  of  the  sensitive  child  na- 
ture (even  when  of  High  School  age)  to  various 
kinds  of  film  production  is  the  best  means  of  setting 
a  standard  of  high  moral  tone,  or  of  what  is  ar- 
tistic !  W'hat  has  become  of  the  Law  of  Condition- 
ing? The  people  of  any  national  group  reflect  the 
culture  of  their  group;  they  are  so  conditioned.  To 
acquire  a  taste  for  music,  is  the  child  subjected  to 
primitive  rhythms  and  crooning  with  such  an  over- 
whelming confidence  in  his  judgment  that  we  trust 

(Concluded  on  page  89) 


Page  88 


The  Educational  Scree 


The  Church  Field 


Conducted  by  MARY  BEATTIE  BRADY 

Director,    Harmon    Foundation,    New    York    City 


Young  Peoples'  Group  Makes  Experlmentdl  Picture 


A  DRAMATIC  presentation  of  a  true  life  situation 
has  recently  been  done  in  motion  pictures  by  the 
Young  People's  Fellowship  of  St.  Stephen's  Church, 
Port  Washington,  Long  Island,  in  cooperation  with 
The  Religious  Motion  Picture  Foundation.  The  pro- 
duction, entitled  "Lost  and  Found",  had  its  first  pres- 
entation in  the  church  on  February  9,  and  has  called 
forth  considerable  interest,  not  only  because  of  the 
subject  matter  and  its  treatment,  but  also  because  it 
is  probably  the  first  film  of  its  kind  to  be  developed 
by  an  amateur  church  group,  with  a  craftsman-like 
approach. 

The  film  presents  an  actual  occurrence  that  takes 
place  in  a  small  community  and  afifects  the  lives  of 
several  young  people.  In  the  showings  which  have 
been  held  thus  far  it  has  fulfilled  the  purpose  intended 
in  holding  the  interest  and  stimulating  the  minds  of 
its  viewers  to  discussion  as  to  the  ethics  used  by  "Bill", 
the  local  rector  and  head  of  the  young  people's  group, 
in  handling  a  dilemma. 

Leading  parts  in  the  film  have  been  taken  by  the 
members  of  the  Young  People's  Fellowship.  They 
were  directed  bv  Mr.  Charles  T.  Carbonaro,  assisted  bv 


A  Scene  from  "Lost  and   Found" 

Miss  Helen  G.  Harmon,  Vice-President  of  the  Har- 
mon Foundation.  They  had  had  some  previous  ex- 
perience in  dramatic  work  under  the  direction  of  their 
president,  Mr.  Carl  Krautter,  and  for  this  reason,  as 
well  as  the  keen  inte'rest  in  the  purpose  of  such  a  film, 
were  felt  to  be  an  ideal  group  for  making  this  experi- 
ment in  motion  pictures. 

It  was  intended  to  begin  their  work  with  the  writing 


of  the  scenario,  but  because  they  were  nearly  all  high 
school  students  and  it  was  getting  into  the  summer 
vacation  period,  the  time  was  too  short.  A  scenario 
was  furnished  and  from  that  point  the  group  took  up 
its  work.  One  member  took  charge  of  "props"  ;  an- 
other acted  as  script  girl ;  and  all  were  generally  help- 
ful in  building  up  a  production  of  a  worthwhile  na- 
ture. An  empty  gas  station  in  Port  Washington  fur- 
nished the  locale  of  a  good  deal  of  the  action  in  the 
film.  In  the  development  of  the  story  the  police  de- 
partment and  the  police  station  had  to  be  used  for 
some  of  the  scenes,  and  the  proprietor  of  a  tavern 
gave  the  use  of  his  establishment  for  other  sequences. 
The  two  local  newspapers  ran  oflf  special  editions  for 
the  photography  of  progressive  news  on  the  robbery 
of  the  gas  station,  an  important  part  of  the  action. 
Through  the  cooperation  of  the  Reverend  W.  J. 
Woon,  St.  Stephen's  Church,  Port  Washington,  the 
Parish  House  was  used  for  many  of  the  indoor  sets. 
Cars  and  some  of  the  other  props  were  borrowed  from 
relatives  and  friends  of  the  members  of  the  young 
people's  group. 

The  photography  of  the  film  was  completed  in  a 
few  week-ends  as  most  of  the  young  people  were  not 
available  at  other  times.  They  threw  themselves  com- 
pletely into  the  production  and  readily  caught  the  spir- 
it of  furnishing  vistial  material  on  young  people's  prob- 
lems in  adjusting  themselves  to  life.  They  have  had 
the  technical  experience  of  making  a  film  and  achieved 
values  from  its  subject  matter,  yet  at  the  same  time 
they  have  given  a  permanent  and  effective  service  to  a 
large  number  of  people.         By  Evfxyn  S.  Brown. 

"Padre  Sahib"  to  Visit  United  States 

Almost  three  years  have  elapsed  since  the  Reverend 
Mott  Keisler  and  his  wife,  of  Lahore,  India,  took  time 
off  from  their  regular  duties  as  missionaries  of  the 
Methodist  Episcopal  Church  to  play  the  leading  parts 
in  the  motion  picture  drama  cf  mission  life,  "Padre 
Sahib".  Since  that  time  the  film  has  been  shown 
to  more  than  five  hundred  church  audiences  under  the 
auspices  of  the  Methodist  Board  of  Foreign  Missions, 
but  as  yet  Mr.  and  Mrs.  Keisler  have  not  seen  one 
performance.  Returning  for  a  year's  furlough  this 
coming  spring  they  look  forward  to  seeing  themselves 
as  others  have  been  seeing  them  for  the  last  two  and 
a  half  years.  "Padre  Sahib"  was  made  by  Mr.  and 
Mrs.  William  L.  Rogers  with  the  coo]ieration  of  Mr. 
and  Mrs.  Keisler  in  the  spring  of  1933. 


March,  1956 


Page  89 


II 


National  Conference  on  Visual  Education 
and  Film  Foundation 

—   DeVRY   FOUNDATION  — 

(Formerly  DeVry  Summer  School  of  Visual  Education) 

Sixth    Session 
CHICAGO  —  JUNE  22  TO  25  —  1936 

At  The   Francis   W.    Parker   School,   330   Webster  Ave. 

(Opposite  Lincoln  Park) 

The   Week  Before  The  N.   E.   A.   at   Portland 

Use    Reduced    Railway    Fares   and   Stop-Over   Privilea:e 

Four  days  of  film  exhibition  and  discussions  by  leading  educa- 
tors, sale.^  executives  and  advertising  men  ;  viewing  and  discuss- 
ing the  latest  and  best  industrial  and  educational  films — sound 
and  silent. 

Fi'.m  producers  are  invited  to  submit  their  film  entry  for  ex- 
hibition and  study.  The  list  accepted  will  be  announced  in  ad- 
vance of   the   Conference  Session. 

MEMBERSHIP  IS  FREE  — 
ADMISSION  BY  REGISTRATION  CARDS 

Those  who  have  a  reasonable  expectation  of  attending,  are  in- 
vited to  sign  advance  Registration  Card  bslow  and  mail  to  address 
printed  on  card.  This  card  will  insure  membership  and  admis- 
sion to  all  sessions,  and  will  bring  you  detailed  program  as  soon 
as   printed.      No   obligation    involved. 


Above-  the  DeVry  Theatre  Sound  Projecttir  i  m  uAry  35  mm. 
Sound  Unit-  DeVry  16  mm.  Sprocket  Intermittent  Sound  Unit 
—DeVry  16  mm.  Triple  Claw  Sound  Unit — DeVry  35  mm.  Sound 
Recording  Camera  DeVry  "A"  News  Reel  Camera-  -The  DeVry 
No.    60,    16   mm.    Camera — DeVry    "E"   and    "G"    Siknt    Projectors. 

1 1 1 1  Center  St.. 
Chicago 


HERMAN  A.  DEVRY,  Inc. 


ADVANCE 

National    Conference    on    V 
1 1 1 1    Center    Street 

REGISTRATION 

Isual    Education    and 

CARD 

Film    Exhibition    — 
Chicago,    Ills. 

Film    Entry 

if   any 

Clip  this   ad   for  reference.      It  will   not   be   repeated. 


Among  The  Magazines  and  Books 

(Concluded  from  page  87)  ~~ 

him  to  determine  what  music  is  of  high  standard? 
To  he  sure,  there  are  classroom  discussions,  after 
which  the  pupil  often  votes  against  the  accepted 
standard.  How  long  before  hygienists  shall  advise 
that  young  people  experiment  in  the  use  of  foods, 
notwithstanding  the  slowly  accumulated  knowledge 
through  centuries  of  their  effects  upon  the  human 
body?  Is  it  not  the  part  of  wisdom  for  young  folks 
to  be  shown  that  they  are  the  heirs  of  a  rich  herit- 
age of  standards  of  taste,  conduct,  and  beauty, 
which  a  single  person  could  not  possibly  evolve 
during  his  whole  lifetime?  The  more  they  can  see 
and  appreciate  this  evolvement,  the  truer  the  taste, 
but  does  it  become  the  more  reliable  by  an  inclusion 
of  poorer  standards  for  the  sake  of  comparison? 

To  be  sure,  few  pictures  are  just  what  we  should 
like  for  children,  and  the  author  gives  a  number 
of  very  helpful  suggestions  for  counteracting  ef- 
fects that  might  be  harmful.  Suggestions  are  made 
for  class  work  in  the  study  of  the  best  film  reviews. 

Intercine  (November,  '35) 

"The  Educational  Film  in  Public  Cinemas,"  by 
Luis  Gomez  Mesa.  The  writer  holds  that  we 
should  be  subject  to  a  disillusion  if  we  should  have 
faith  in  managers  of  public  cinemas  putting  their 
screens  at   the   service   of    education    and    culture. 


Hence,  he  mentions  two  plans,  for  obtaining  this 
result.  Managers  may  be  compelled  to  produce 
a  definite  minimum  footage  of  educational  pictures. 
Optional  to  this  procedure,  competition  could  be 
encouraged  amongst  managers  by  granting  fiscal 
advantages  to  those  producing  the  best  selected  and 
most  useful  films. 

"Recent  Developments  in  Sound  Technique,"  by 
Basil  Wright.  In  an  experiment  carried  on  under 
the  direction  of  John  Grierson,  the  comedy,  "Pett 
and  Pott,"  was  produced  on  completely  asynchro- 
nistic  sound  principles.  Practically  all  the  sound 
was  recorded  before  the  shooting  of  the  visuals. 
This  enabled  the  workers  to  concentrate  for  the 
first  time  on  the  shajje  of  the  sound  score,  the 
sound  band  becoming  a  complementary  element, 
rather  than  a  supplementary  element.  In  "Weather 
Forecast  '  the  efl^ect  was  the  reverse  of  impression- 
istic ;  the  prelude  to  the  storm,  and  the  storm  itself, 
were  so  built  up  in  contrapuntal  sound  and  picture 
that  the  atmosphere  was  not  merelv  one  of  tension 
and  excitement  but  also  supremely  analytical.  This 
quality  of  analysis  is  another  example  of  the  value  of 
sound  and  picture  not  blankly  tied  up  by  synchronized 
effects.  The  chief  interest  of  sound  here  was  in 
its  use  to  determine  mood,  by  adding  extra  atmos- 
pheric qualities  to  those  already  in  the  visuals.  In 
a  word,  this  film  demands  intellectual  concentration 
from  its  audiences  as  well  as  emotional  response. 


Page  90 


The  Educational  Screen 


Film  Production  in  the  Educational  Field 


BEFORE  any  school  attempts  a  film  producing  pro- 
gram there  are  always  a  number  of  problems 
which  arise  concerning  equipment  and  technical  data 
of  one  sort  or  another.  In  this  article  I  shall  attempt 
to  list  and  answer  a  few  of  the  questions  most  fre- 
quently asked. 

Which  camera  equipment  shall  I  buy  is  probably  the 
most  common  question  and  unquestionably  the  hard- 
est to  answer.  This  is  like  asking  which  automobile 
shall  I  buy  or  which  radio  shall  I  buy.  There  are 
a  number  of  good  cameras  on  the  market  and  like 
other  commodities  it  is  generally  true  that  you  get 
only  what  you  pay  for.  One  must  bear  in  mind  one 
fact  however  in  jnirchasing  equipment  for  the  produc- 
tion of  teaching  films,  namely,  that  the  resulting  films 
will  be  judged  by  critical  eyes  so  that  cameras  which 
would  be  suitable  for  vacation  records  and  home 
amusement  will  not  in  most  cases  be  capable  of  pro- 
ducing satisfactory  teaching  films. 

The  16  mm.  field  might  be  divided  into  two  hyjxi- 
thetical  divisions  namely ;  the  above  mentioned  home 
amusement  films  and  the  serious  and  much  more 
difficult  instructional  film.  For  the  former  class 
many  of  the  low  priced,  simple  to  operate,  16  mm. 
cameras  will  suffice.  However,  for  the  teaching  films, 
produced  for  the  most  part  under  more  difficult  condi- 
tions, only  the  best  and  most  versatile  cameras  should 
be  used. 

It  must  be  remembered  that  the  initial  cost  of  the 
producing  equipment  is  small  compared  to  the  cost 
of  the  film  which  will  eventually  be  consumed  in  the 
Ijroduction  of  finished  films.  Nothing  is  more  exas- 
]:ierating  than  to  find  that  after  using  a  certain  camera 
for  a  while,  it  has  definite  limitations  which  pro- 
hibit it  from  being  used  at  maximum  efficiency. 

In  the  nature  of  the  case,  a  16  mm.  camera  can 
hardly  be  expected  to  match  the  results  of  a  35  mm. 
It  is  wise  therefore  to  consider  carefully  the  advisabil- 
ity of  purchasing  the  camera  in  the  size  of  maximum 
efficiency  for  the  purpose  intended.  The  compensation 
in  the  ability  to  prodvice  results  will  more  than  oflfset 
the  difiference  of  $50.00  or  $100.00  in  the  initial  cost. 

What  lens  equipment  should  I  huy?  Again  we  say 
that  inasmuch  as  the  lens  might  be  considered  as  the 
heart  of  the  motion  picture  camera  that  one  should  be 
content  with  none  but  the  best.  This  question  is  more 
easily  settled  however,  because  all  of  the  well  known 
lenses  now  on  the  market  will  give  good  results  if  used 
properly. 

In  glancing  through  a  lens  catalog  we  see  many 
focal  lengths  listed.  The  size  of  the  image  obtained 
on  a  film  is  directly  proportional  to  the  focal  length 
of  the  lens.  A  2"  lens  will  give  twice  as  large  an  image 
as  a  1"  lens,  and  a  6"  lens  will  give  twice  the  image 


Conducted  by  F.  W.  DAVIS 

Department  of  Photography 
Ohio  State  University,  Columbus 


size  of  a  3"  lens.  At  the  same  time  as  the  image  size 
increases,  our  angle  of  view  or  field  is  decreased 
proportionally.  It  is  readily  recognized  that  this  is 
one  method  of  producing  "Close-Ups." 

Another  method  would  be  to  bring  the  camera 
closer  to  the  object  photographed  using  the  same  lens, 
but  the  use  of  various  focal  lengths  is  to  be  desired 
in  some  cases,  such  as  photographing  a  distant  mountain 
or  landscape  and  bringing  it  closer  to  the  eyes  of  the 
audience.  A  good  combination  for  a  modest  outlay 
would  be  a  1"  lens  and  a  2"  lens.  A  more  desirable 
combination  would  be  a  15  mm.,  a  1",  a  2",  and  a  4". 

Anotlier  designation  of  lenses  is  by  their  "F"  value, 
or  diaphragm  number.  As  was  discussed  last  month 
the  lower  the  "F''  value  the  larger  the  efifective  area 
of  the  lens  and  the  greater  is  the  amount  of  light 
admitted.  It  so  hapi)ens  that  a  large  number  of 
teaching  films  will  be  made  indoors  by  means  of  arti- 
ficial light.  This  will  mean  that  at  times  it  is  necesary 
to  use  a  very  large  aperture  (F  1.5,  F  1.9,  etc.).  The 
1"  F  1.9  lens  is  a  very  highly  corrected  objective  and 
is  standard  equipment  on  most  cameras.  The  15  mm. 
or  wide  angle  lens  for  the  inclusion  of  large  areas 
can  be  had  in  the  F  2.5  model,  a  very  .satisfactory 
lens. 

The  longer  focal  length  lenses  will  have  a  smaller 
aperture  due  to  their  construction.  The  2"  lens  may 
be  obtained  in  F  1.5  but  the  F  3.5  model  gives  sharper 
images  if  the  speed  may  be  sacrificed.  In  the  3",  4", 
and  6"  lenses  for  outdoor  work  and  limited  indoor 
work  the  apertures  rarely  go  below  F  4  or  F  4.5. 

Should  I  buy  equipment  that  will  make  "slow  mo- 
tion" movies?  Yes,  by  all  means  purchase  a  variable 
speed  camera  so  that  this  may  be  done.  There  are 
many  times  where  motion  pictures  are  made  of  moving 
apparatus  or  processes  which  would  show  only  as  a 
blur  when  photographed  at  the  standard  silent  speed 
of  16  frames  per  second.  By  speeding  up  the  camera 
to  32  or  64  frames  per  second  these  processes  may 
be  analyzed  and  studied.  This  princij^le  is  applied  to 
laboratory  research  in  the  study  of  explosions  in  an 
internal  combustion  engine,  experiments  in  physics  and 
other  I'ugh  speed  phenomena  where  pictures  are  taken 
at  the  enormous  rate  of  five  to  ten  thousand  per  second. 

Teaching  films  in  the  field  of  sports  and  athletic 
events  must  utilize  the  .slow  motion  principle  to  its 
utmost.  In  a  recent  film  produced  at  the  Ohio  State 
Um'versity  under  direction  of  the  Women's  x^thletic 
Department  to  teach  the  correct  form  in  swimming, 
the  entire  production  was  photographed  at  64  frames 

(Concluded  on  page  ''5) 


March,  1936 


Page  91 


Look  to  RCA 

for  the  latest  developments  in  . 
modern  educational  aids 


FOR  25  YEARS  we  have  had  a  special  department  to  assist  schools  in  putting 
Victor  Records  to  educational  uses.  Progressive  educators  today  look  to 
that  same  department  for  counsel  in  the  use  of  films,  whether  slide  films 
with  sound-on-disc,  or  talking  motion  pictures. 

These  modern  teaching  aids  greatly  enhance  the  success  of  the  school 
personnel,  and  give  the  institution  employing  them  a  new  high  standing  in 
its  community  and  among  educators  generally. 

The  only  equipment  necessary  to  show  films  is  a  suitable  projector.  The 
RCA  Slide  Film  Projector  (sound-on-disc)  is  being  used  by  schools  every- 
where, because  it  is  simple  to  operate,  furnishes  clear  and  brilliant  pictures 
and  sound,  and  is  backed  by  the  most  famous  name  in  sound  recording  and 
reproduction.  There  is  also  the  RCA  i6mm.  Sound  Motion  Picture  Pro- 
jector, which  is  available  on  a  self-financing  plan  so  arranged  that  the  Pro- 
jector and  a  film  service  covering  a  scholastic  year,  are  obtainable  without 
drawing  on  school  board  funds.  Write  for  full  particulars. 


RCA  MANUFACTURING  CO.,  Inc. 

CAMDEN,  NEW  JERSEY  •  A  SERVICE  OF  RADIO  CORPORATION  OF  AMERICA 


MAIL  THIS  COUPON  NOW! 


RCA  Mfg,  Co.,  Inc.,  Visual  Sound  Section 
Camden,  N.  J. 

Please  send  me  full  details  of  the  RCA  Projectors. 


Name, 


RCA  Slide  Film 
Projector(sound- 
on-disc).  Port- 
able. Simple  to 
operate. 


Schools 
Street— 
City 


_State_ 


Page  92 


The  Educational  Screen 


School  Department 


Biology  in  the  Canal  Zone 

CHILDREN  everjwhere  love  to  bring  things  to 
the  teacher,  who  is  then  faced  with  the  more  or 
less  acute  problem  of  how  to  dispose  of  their  of- 
ferings. Down  here  there  is  such  a  wealth  of  ma- 
terial constantly  available,  with  no  closed  winter 
season,  that  only  a  slight  added  stimulus  of  sug- 
gestion is  needed  to  start  the  inflow  of  curious,  in- 
teresting or  fearful  objects  collected  by  our  seventh 
grade  crowd.  Ample  space  has  been  provided  for 
most  of  the  collections,  and  various  arrangements 
made  for  the  temporary  housing  of  the  small  crea- 
tures brought  in  alive  for  study. 

Children  of  the  seventh  grade  are  a  bit  too  young 
to  be  very  reliable  on  trips ;  the  class  period  is  very 
short;  and  transportation  for  a  crowd  of  160  is  dif- 
ficult to  arrange,  so  few  field  excursions  are  sched- 
uled. For  this  reason  the  realia  are  doubly  wel- 
comed for  class  room  instruction.  The  children 
need  a  chance  to  see  for  themselves,  instead  of  read- 
ing about  things  in  a  book.  Since  the  year's  work  is 
built  around  the   studv  of  environmental   factors,  all 


NEW  FINANCE  PLAN 


FOR  - 

SCHOOLS,  CHURCHES,  ETC. 


We  have  just  completed  a  new  and 
unusual  finance  plan  which  will  enable 
every  school,  church  and  similar  insti- 
tution to  own  the  latest  16mm.  or 
35mm.  SOUND  ON  FILM  PRO- 
JECTOR on  liberal  and  convenient 
TERMS. 

WRITE  FOR  COMPLETE  DETAILS 

We  sell  BELL  &  HOWELL,  AMPRO,  VIC- 
TOR, R.C.A.,  SYNCROFILM,  as  well  as 
DE  VRY  Equipment. 

WE  ALSO  HAVE  SEVERAL  SLIGHTLY  USED  AND 
REPOSSESSED  TALKING  PICTURE  PROJECTORS 
THAT  WE  CAN  OFFER  AT  LESS  THAN  COST. 
YOU  CAN  PURCHASE  THESE  AS  WELL  ON  THE 
ABOVE  CONVENIENT  PAYMENT  PLAN.  ABSO- 
LUTELY NO  INTEREST  CHARGE. 

SUNNY   SCHICK 

NATIONAL  BROKERS 

407   W.   WASHINGTON   BLVD. 

FORT  WAYNE,  IND. 


Conducted  by  DR.  F.  DEAN  McCLUSKY 

Director.  Scarborouah   School.   Scarborouah-on-Hudton,   N.  Y. 


types  of  local  specimens  are  made  to  play  their  part  in 
laying  a  broad  foundation  for  future  study.  Many  new 
terms  must  be  learned,  and  a  more  critical  attitude  de- 
veloped by  close  observation. 

Does  a  scorpion  sting  itself  to  death?  Do  the  young 
scorpions  devour  their  parent?  A  chance  is  offered 
to  study  them  in  captivity.  A  snake  doesn't  have  a 
backbone,  does  it?  The  vertebrae  have  been  collected 
and  strung  on  a  wire.  What  is  a  vertebrate  creature? 
Where  is  the  turtle's  backbone  located?  Is  a  whale  a 
fish?  Why  is  a  bat  not  a  bird?  What  are  mammals? 
How  do  moths  differ  from  butterflies?  Isn't  a  cater- 
pillar a  worm?  Is  it  safe  to  pick  up  this  caterpillar? 
Aren't  some  lizards  poisonous?  Instead  of  fearing  all 
the  creeping,  crawling  creatures,  they  learn  to  make 
friends  of  some  of  them.  The  praying  mantis  dain- 
tily eats  a  piece  of  meat  and  does  not  seem  to  mind  his 
captivity.  The  "thorn  bugs"  and  leaf  insects  illustrate 
nature's  mimicry.  Iguana  eggs  hatch  without  any  care 
and  the  young  can  feed  themselves.  In  the  plant  world 
the  children  observe  the  leaves  of  schoolroom  plants 
turn  toward  the  sun,  and  those  derived  of  light  grow 
pale  and  spindly.  A  study  of  seed  dispersal  follows 
when  the  winged  mahogany  seeds  appear  and  the  sand- 
box pods  begin  to  burst ;  seeds  with  burs  and  seeds 
with  down,  and  the  hardy  cocoanut,  the  voyageur  to 
distant  isles.  Stalactites  from  Alhajuela  mean  more 
than  those  defined  in  the  geography  book,  and  the  fos- 
sils garnered  hereabouts  give  color  to  the  story  of 
geology. 

Last  week  a  quite  fortuitous  occurrence  served  to 
illustrate  several  first  principles.  The  children  were 
the  first  to  note  that  our  handsome  jewel  fish  was  on 
a  rampage.  She  seemed  unusually  vicious,  and  closer 
observation  revealed  that  she  was  hovering  over  a 
cloudlike  swarm  of  some  two  hundred  tiny  young  ones 
she  had  spawned  over  night,  jealously  guarding  them 
from  the  other  denizens  of  the  tank.  She  was  aided 
and  abetted  in  a  somewhat  bored  fashion  by  her  mate, 
and  they  had  already  done  to  death  one  large  inoffen- 
sive-looking fellow  inhabitant,  who  was  gasping  out  his 
last  feeble  breath.  The  mother  lunged  viciously  at  any 
unwary  intruder  who  ventured  near  the  corner  of  the 
tank  pre-empted  for  a  nursery,  and  was  concentrating 
on  a  ha):)less  small  turtle  who  had  innocently  dived 
down  for  a  leisurely  prowl  on  the  sandy  bottom  and 
who  dared  not  now  put  forth  his  head  or  tiny  claws 
to  essay  regaining  the  comparative  safety  of  the  upper 
reaches. 

When  we  prepared  to  remove  the  tiny  babies  for 
closer  observation  the  mother  fearlesslv  attacked  both 


March,  19}  6 


Page  93 


net  and  the  hand  that  held  it,  yet  did  not  seem  dis- 
tressed when  most  of  the  swarm  were  fi^one.  The  tiny, 
speckled  fish  were  scarcely  visible  against  the  back- 
ground of  sand.  After  a  few  days  time  it  was  noted 
that  manv  had  died  and  many  unwary  ones,  too,  had 
been  picked  off  by  hvmgry  prowlers.  Then  the  ques- 
tion arose  as  to  what  would  happen  had  none  of  the 
young  ones  died. 

This   "blessed   event"   proved   highly    interesting  to 
the  class  and  led  to  discussions  about  parental  care, 


Courtesy  of  Everett  B.  Sackett 

Seventh   Grade   General  Science   Pupils 
Performing   an   Experiment 

protective   coloration,   the  survival   of   the  fittest,   the 
balance  of  nature,  and  so  forth. 

Naturally  this  particular  illustration  does  not  occur 
each  year.  But  each  year  does  produce  a  number  of 
absorbing  occurrences  to  keep  alive  the  interest  and 
break  the  monotony  for  classes  and  teacher  both. 

By   THEODORA    CAMPBELL 

Teacher    of     General     Science, 
Balboa    Junior    High    School 

Wisconsin  Visual  Instruction  Institute 

A  three-day  institute  for  the  training  of  teachers 
and  administrators  in  the  more  eflfective  use  of  vis- 
ual aids  was  conducted  by  the  University  of  Wis- 
consin Extension  Division  at  Madison,  February 
llth-13th.  Among  the  speakers  were:  Dr.  Edgar 
Dale,  of  Ohio  State  University  and  American  Coun- 
cil on  Education;  Mr.  Paul  Nelson,  of  Stout  Insti- 
tute; Dr.  Colin  G.  Welles,  Director  of  Visual  In- 
struction, Milwaukee  Vocational  School;  Mr.  Leo 
P.  Schleck,  Director  of  Visual  Instruction,  Madison 
Public  Schools ;  Mr.  Harold  Stamm,  of  West  Allis 
High  School ;  and  Mrs.  Helen  Thompson,  of  Emer- 
■-^on  School,  Madison.  Mr.  J.  E.  Hansen  and  Mr. 
F.  H.  Brown  represented  the  Bureau  of  Visual  In- 
struction on  the  program.  Dean  Frank  O.  Holt, 
of  the  Extension  Division,  addressed  the  group  at 
the  Tuesday  luncheon  meeting,  and  Dean  C.  J.  An- 
derson, of  the  School  of  Education,  delivered  an  ad- 
dress on  "Problems  Facing  Those  Who  Use  Motion 
Pictures  for  Instructional  Purposes"  at  the  Wed- 
nesday luncheon  meeting. 


USEES  ALL-PLAYS  ALL  I 
niversaL 

THE  PROFESSIONAL 
SOUND    PROJECTOR  16MM. 

For  Audiences  50  to  2000 


ONCE  it  may  have  been  necessary  to  pay  a  lot  of 
money  fo  get  all  the  things  you  wanted  In  a  sound 
projector.     ONCE  —  but  not  any  more. 

TODAY,  you  can  buy  a  Universal  Sound  Projector, 
and  at  a  low  price  have  all  the  advantages  of  a 
Professional  Sound  Projector.  Universal  has  set  a 
new  standard  for  Picture  and  Sound   Performance. 

Make  Your  Own 
"Side    By    Side"    Test 

See  and  hear  the  Universal  side  by  side 
with  any  other  sound  projector  at  any 
price.  Compare  the  brilliancy  of  picture 
and  quality  of  sound.  The  Result?  We 
can't  describe  it.  We  can  only  urge  you 
to  make  this  test  for  yourself-Universal 
"Side  by  Side"  with  any  other  sound 
projector. 

All  You  Want  Is  Here  — 

Think  over  the  things  you  want  most  in 
a  16  M.  M.  Sound  Projector.  In  Uni- 
versal you  enjoy  record  breaking  tone 
.^  quality  and  brilliancy  in  screen  image. 
Economy  is  the  boast  of  every  Universal 
owner.  Compare  prices  and  values. 
You  will  then  understand  why  Universal 
excels. 


Low  Cost  — 

In  Universal  you 
find  a  new  kind  of 
performance  plus 
operating  economy 
at    lowest    cost. 


WITH    500-750-1000    WATT    PROJECTOR    LAMP 
ACCOMMODATES   ALL   SIZE   REELS 


BRILLIANT  PICTIHE  —  At  vari- 
ous distances  and  ail  sizes.  Vnl- 
versai  with  its  fine  Lens  equipment 
and  high  powered  lamps  affords  un- 
excelled  definition   to   pictures. 


FOR  AUDIEN'CKS  TO  2000— T'nl- 
vcrsal  Amplifler  with  Its  Speaker  Is 
of  auditorium  type.  Ample  power 
for    large    and    small    showings. 


ALL-METAL  CASE  —  The  Sound 
Projector  is  housed  In  an  all-metal 
case  mabinK  for  rigidity  In  opera- 
tion and  flexibility  In  transporta- 
tion. Designed  for  hard,  continued 
usage. 


TllVE  TOXE  QIALITY— In  Uni- 
versal every  sound  is  produced  with 
accurate  lidelity  with  colorful  and 
pleasing  definition. 


SOUND  OR  SILENT  PICTURES— 

Projector  equipped  with  Universal 
A.  C.-D.  C.  Motor.  GOVERNOU 
CONTROL  for  regulation  of  vari- 
ous  speeds. 


COMPLETE  E  Q  U  IP- 
M  E  N  T^Sound  Projector 
—  Amplifier  ~  Speaker 
Tubes — (^onnections^Ktc. , 
arranged  In  2  Handy  ear- 
ning Cases  —  Simple  to 
erect— Easy    to    operate. 


A 


Complete   Details  On   Request 

UNIVERSAL  SOUND  SYSTEM,  Inc. 

Manufacturers  of   16  mm.  -  35  mm.  Sound   Proiecfors 


Factory  &  General  Offices 

Allegheny   Ave.   at    Ninth   St. 

Philadelphia.    Pa. 


Western    Distributor 

Ideal   Pictures  Corp. 

30    E.   8th   St..    Chicaoo,    III. 


Page  94 


The  Educational  Screen 


16-MM.  SCHOOL   FILMS 
BASED  ON  MOTION  PICTURE  CLASSICS 

"North  American  Indian  Life" 

Based   on    Burden-Chanler's 
"THE  SILENT  ENEMY" 
Three  One-Reel  Episodes  for  Primary  Grades 
Four  One-Reel  Episodes  for  Upper  Grades 

"Eskimo  Life" 

Based   on   Robert  Flaherty's 
"NANOOK  OF  THE  NORTH" 

Four   One-Reel    Episodes  for   Prinnary   Grades 
Six  Reels  for  Upper  Grades 

These  films  have  been  integrated  with  school  sub- 
jects and  fit  into  the  curricula.  Title  vocabulary 
has  been  checked  with  Thorndyke  list. 
Teacher's  Guides,  containing  helpful  explanatory 
matter  and  suggestions  for  teaching  techniques,  ac- 
company the  films. 

Catalog  and  price  list  sent  upon  request. 

Edwards  Productions 

729  SEVENTH  AVE.,  NEW  YORK,  N.  Y. 
Cable  Address:    Beaconfilm. 

Write  for  free  copy  of  twenty-page  illustrated 
brochure  "How  The  Silent  Enemy  Was  Made", 


t^Hi^iM^\6 


mm 

ALL 

SPROCKET 

PROJECTOR 

SILENT 

or 

SOUND 

on 

FILM 


•x^ 


y 


All 

Shaft 
Driven 

Straight 

Sound 
Aperture 

Direct 
Beam  of 
Light  on 

Sound 
Track  and 
Photo  Cell 

Hold  Back 
Sprocket 

Filtered 
Sound 

Sprocket 


PROFESSIONAL 
QUALITY 

Ask  any  professional  operator 
why  these  HOLMES  16  mm 
features  are  so  necessary  to 
the  finest  sound  reproduction 
and  picture  projection. 

Write  for  full  descriptive 
literature. 


Belts 
No  Chains 

No 
Sound 
Drum 

No 

Reflected 

Lipht  from 

Sound 

Track  to 

Photo  Cell 

No  Claw 
Movement 

No  High 
Speed 
Shafts 


HOLMES    PROJECTOR    COMPANY 

1113  N.  ORCHARD  STREET  CHICAGO,  ILLINOIS 


A   Report  on  Visual   Aids 

Visual  Aids  ix  the  Schools  (Bulletin  IV,  De- 
cember, '35),  Published  by  the  New  York  State  Asso- 
ciation of  Elementary  Principals.  Prepared  by  the 
Committee  on  Educational  Progress,  Visual  Aids  Di- 
vision. John  J.  Jenkins,  Chairman. 

In  160  pages,  an  exhaustive  treatment  is  given  on 
"Present  Uses  and  Suggestions  for  Improvement"  in 
the  use  of  all  kinds  of  visual  materials  in  the  state  of 
New  York.  Somewhat  over  one-third  of  the  book  is 
devoted  to  "Visual  Aids  for  the  Asking  and  Making", 
and  the  remainder  to  "Visual  Aids  Requiring  Equip- 
ment". Part  I  includes  chapters  on  "The  School 
Journey",  "Charts,  Graphs.  Diagrams",  "Pictures  and 
Picture  Collections",  and  "The  Object-Specimen- 
Model". 

Part  II  presents  the  most  complete  description  of 
novel  and  effective  uses  of  the  blackboard,  which  we 
have  seen.  There  are  suggestions  for  each  branch  of 
learning  in  the  Elementary  School,  much  of  the  pro- 
cedure being  in  the  sports  spirit.  Standards  for  lan- 
tern slides  include  those  of  A.  P.  Hollis,  of  Weber, 
and  two  added  by  the  committee.  Ten  uses  of  slides 
are  listed,  including  the  following  less  commonly 
given :  "Slides  are  of  value  when  used  in  a  deductive 
or  inductive  manner  particularly  when  studying  ma- 
terials where  it  is  desirable  to  demonstrate,  or  de- 
velop cause  and  eflfect  relationships."  The  excellent 
analysis  of  Mr.  Alfred  W.  Abrams  on  training  pupils 
to  observe  and  interpret  pictures  is  quoted.  Teachers 
will  appreciate  the  various  demonstration  lessons  that 
are  fully  outlined.  Miss  Alice  V.  Keliher  in  five 
pages  ])resents  a  most  helpful  summary  of  her  use  of 
slides  in  the  First  Grade.  A  demonstration  lesson  on 
"\\'oor'  is  fully  developed,  and  she  gives  the  unique 
advantages  of  the  use  of  slides  in  this  grade  under  11 
points.  Miss  Elda  Merton  in  seven  pages  gives  a  les- 
son in  Primary  Reading  based  on  a  single  slide,  the 
blackboard  projection  developed  by  Miss  Laura  Zirbes 
being  explained. 

The  more  recent  uses  of  maps  and  globes,  in- 
cluding the  making  of  outline  and  relief  maps,  are 
well  treated,  and  the  accompanying  use  of  sand  tables. 
Under  "Suggestions  to  Principals  and  Teachers  for 
Effective  Use  of  Motion  Pictures",  we  are  not  sur- 
prised to  find  the  following,  when  we  recall  the  long 
tutelage  of  New  York  State  in  using  projection  ma- 
terials under  Mr.  Abrams :  "The  connection  or  rela- 
tionship between  the  film  and  the  school  work  must  be 
clear  to  the  children  before,  during  and  following  the 
showing  of  a  film.  It  should  be  understood  by  all 
concerned  that  the  film  is  an  educational  medium  and 
not  a  show.  Do  not  use  films  to  excess.  Remember 
that  an  active  intellectual  attitude  is  essential  if  real 
learning  is  to  take  place." 

Sound  pictures  are  appraised  and  the  different  ex- 
periments performed,  with  their  educational  use,  are 
well  summarized.    The  difficulties  of  a  classroom  teacher 


iarcb,  193  6 


Page  95 


D  A  -  L  I  T  E 

ELEVATING 

TYPES 

Junior  Models 

For  small  classes.  Moderately 
priced  from  $3.00  up. 

New  Deal 

In  leatherette-covered  box,  with 
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30"  to  39"  X  52"   Inclusive. 

Model  A 

in  leatherette-covered  box  with 
double  collapsible  support.  The 
highest  quality  box  screen  on  the 
market.    Same  sizes  as  New  Deal. 

Model  F 

In  metal  tube  with  single  collap- 
sible support.  22"  X  30"  to 
52"  X  72"  inclusive. 

Challenger 

In  tube  with  tripod  attached. 
30"  X  40"  to  70"  X  94"  inclusive. 

Master 

In  metal  box,  with  double  collap- 
sible support  and  gear  and  crank 
lift.     6'  X  8'  to  9'  X   12'  Inclusive. 


The  Most  Complete  Line  of 
Educational     Screens 


For  schools,  Da-Lite  makes  translucent  rear- 
projection  screens,  stationary  auditorium 
screens,  and  the  elevating  and  hanging  types 
of  portable  screens  listed  here.  Unless  other- 
wise specified,  Da-Lite  Screens  have  the 
famous  Da-Lite  glass  beaded  surface  which 
reflects  the  maximum  amount  of  light  and 
assures  the  brightest,  clearest  pictures.  For 
movies  or  stills,  silent  or  sound,  there  is  a 
Da-Lite  Screen  that  will  exactly  meet  your 
need.  See  your  dealer  or  write  for  latest 
catalogue! 

DA-LITE    SCREEIV    CO.,    ITSC. 

2733  IVortli  Crawford  Ave.,  Chicago,  IIL 

DA-LITE     HANGING     SCREENS 

Model   B  Model  C 

On   spring   roller  In   metal        On  spring  roller  with  back- 
board mounting.  5'  x  8'  to 


tube    22 
X  84 


30"    to    63" 


9'  X   12'. 


The  Da  -  Lite 

Challenger 

has  a  tripod  attached 
to  the  case  in  which 
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mouniea.       ^ . 


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Da-Lite  Screens 


AND    MOVIE 
ACCESSORIES 


in  projecting  with  sound  are  mentioned,  but  "with  our 
present  social  set-up,  it  is  almost  essential  that  schools 
be  provided  with  35mm.  sound  equipment  in  a  booth 
for  auditorium  entertainment  and  groitp  meetings." 
Ill  classroom  use,  the  following  deductions  have  been 
made  concerning  the  particular  type  of  films  involved 
in  experiments  by  C.  C.  Clark  of  New  York  Univer- 
sity, W.  F.  Einbecker,  John  A.  Haeseler  of  Harvard, 


and  Leon  J.  Westfall  of  Teachers  College. 

The  exjjeriment  of  Dr.  A.  J.  Stoddard  in  Provi- 
dence, R.  I.  with  large  groups  has  previously  been  re- 
ported in  the  Educational  Screen. 

This  bulletin  and  other  publications  of  the  associa- 
tion are  distributed  by  Rollin  W.  Thompson,  principal 
of  the  Roscoe  Conkling  School,  Utica.  The  price  of 
a  single  copy  is  50  cents.  S.  E.  M. 


Film  Production  in  the  Educational  Field 

(Coiicliiilcd  from  fiayc  90) 

per  second  in  order  to  study  each  arm  motion,  leg 
action  or  general  form.  When  the  inexperienced 
swimmer  views  this  film  he  may  see  where  he  is  at 
fault  and  thereby  be  in  better  position  to  improve  his 
own  form. 

The  standard  speed  of  sound  films  is  24  frames 
per  second.  If  the  16  mm.  silent  film  is  made  at  this 
speed  it  is  possible  at  a  later  date  to  have  a  sound 
track  printed  on  the  side  of  the  film,  and  then  run  as 
a  sound  film. 

It  must  be  remembered,  however,  that  as  the  film 
speed  is  increased  from  16  to  64  frames  per  second, 
the  raw  stock  will  travel  through  the  camera  just 
four  times  as  fast.  Where  100  ft.  will  record  about 
4  minutes  of  action  under  normal  speed,  it  will  record 
only  about  1  minute  at  the  higher  speed. 


(16M.M.)   SOUND    PROJECTOR 
FREE  WITH   OUR  FEATURE 
FILM    PROGRAMS 


Your  school  can  now^  enjoy  up-to- 
date  movie  entertainment  including 
the  fine  acting  of  famous  stars,  ^vith- 
out  purchasing  a  projector. 
Simply  select  t'wo  pictures  monthly 
from  our  extensive  film  service  and 
a  16  M.  M.  projector  is  yours  rent- 
free.  Write  for  Special  School  Plan  B 
and    our     Sound  -  on  -  Film     Catalog. 


PROGRAMS 

Include 

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NEW  YORK.  N.  Y. 


Page  96 


The  Educational  Screen 


BAIT-E-LITe 

TAU  Vision 


portable  projection 
screens 


77i('  properties  and  pcrjormancc 
yon  look  for  ill  a  screen  arc  ciiii- 
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BRITELITE-TRUVISION 
CRYSTAL  BEADED  SCREENS 

They  come  in  all  sizes  and  all  nnodels 
— from  the  small,  portable,  classroom 
screen  to  the  more  ambitiously  sized 
models  for  auditorium  use.  They  are  built  to  exacting 
standards  of  manufacture  in  accordance  with  tested  mathe- 
matical and  illuminating  formulae.  The  exceptional  results 
which  they  afford  coupled  with  their  exceedingly  moderate 
prices — render  these   the   outstanding  screen  values  of  the  day. 

DE  LUXE  "A"  CRYSTAL  BEADED  SCREEN 

30  X  40" $15.00  list  (as  illustrated) 

Other  sizes  and  models  priced  proportionately. 
A   complete   catalog   at  your  disposal. 

FILM  STORAGE  &  PROJECTOR  CASE 

Constructed  with  the  same  degree  of  accuracy 
which  distinguishes  all  Britelite-Truvlsion  Movie 
Products.     Literature  on   Request. 

Motion  Picture  Screen  &  Accessories  Co. 

528  WEST  26th  STREET  NEW  YORK 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly   believe)    are   the    lowest   in    the    U.    S.    A. 

All  programs  unconditionally  guaranteed. 

All   postage  on   films  —  both  to   and  from  destination  —  paid   by  us. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  eauipment?     Try  us  ! 

THE     MANSE     LIBRARY 


409   McAlphin   Ave..   Clifton 
Cincinnati,  0. 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS        PRINCIPLES   OF    CHEMISTRY 

The  visualization  of  high  school     The  core  of   the   year's   work   in 

physics  on  3-.  mtii.  film  slides  for     chemistry  especially  adapted  for 

classroom    use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address: 

VISUAL    SCIENCES  —  Suffern,    N.Y. 


•  BETTER  16  mm.  Sound-on-Film 

• 

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Our  library  of  16mm. 

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Is  One  of  the  Largest  in  the  U.  S.   A. 

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■  *  IS  THE  SitiioiiERr  OF  IKE  Screen 

1 

Current   Film    Releases 

School  Films  Prepared  from  Feature  Classics 

The  well-known  motion  picture  classics,  The  Silent 
Enemy,  produced  by  William  Douglas  Burden,  trustee 
of  the  American  Museum  of  Natural  History,  and 
Nanook  of  the  North,  produced  by  Robert  Flaherty, 
have  been  made  into  a  series  of  short  16mm.  school 
subjects  and  are  presented  to  the  educational  field  by 
H.  Threlkeld-Edwards,  New  York  City. 

The  North  American  Indian  Life  series,  based  on 
The  Silent  Enemy,  includes  three  one-reel  Episodes  for 
third  and  fourth  year  primary  grades,  depicting  the 
life  of  "Cheeka,  an  Indian  Boy."  For  upper  grades 
there  are  available  four  subjects  on  "Indian  Tribal 
Customs  and  Village  Life."  The  Eskimo  Life  series, 
based  on  Nanook  of  the  North,  consist  of  four  one-reel 
Episodes  on  "Nanook,  The  Eskimo,"  prepared  for 
third  and  fourth  year  grades. 

The  feature  productions  from  which  these  classroom 
films  were  edited  are  also  available  in  16mm.,  six 
reels  each.  In  addition  to  these  subjects,  Edwards 
Productions  distribute  the  seven-reel  16mm.  sound 
film.  The  Viking,  the  story  of  Captain  Bob  Bartlett's 
sealing  voyage  oi?  the  coast  of  Labrador. 

These  school  versions  and  teachers'  guides  to  ac- 
company them  were  prepared  by  Esther  L.  Berg,  As- 
sistant to  Principal  Public  School  91,  New  York,  and 
Instructor  of  Methods  of  Visual  Education  at  Hunter 
College.  Great  care  has  been  exercised  to  correlate 
the  films  with  the  school  curricula,  the  Guides  con- 
taining helpful  explanatory  matter  and  sugestions  for 
teaching  techniques. 

Tate  Animated  Surgical  Films 

In  the  past  few  years  animated  motion  pictures 
have  been  so  universally  accepted  by  the  medical  pro- 
fession that  the  advisability  of  their  use  is  no  longer 
questioned.  The  Tate  Animated  Surgical  Films,  Chi- 
cago, announce  the  availability  of  a  library  of  ani- 
mated film  subjects  in  16mm.,  from  150  to  400  feet  in 
length,  covering  the  different  fields  in  surgery.  This 
library  aims  at  supplying  the  surgeon  or  the  classroom 
with  films  of  authoritative  surgical  technique  —  the 
matter  of  subject,  photography,  ethics,  and  teaching 
value  all  taken  into  consideration.  Important  details 
are  accentuated  and  unimportant  ones  are  omitted, 
thereby  condensing  footage  and  shortening  projection 
time,  which  allows  discussion  of  technique  within  the 
short  time  allowed  a  speaker  on  a  metropolitan  pro- 
gram. These  films  are  supervised  and  approved  by 
different  authorities  of  the  subjects  portrayed. 

The  Tate  Animated  Surgical  Films  are  now  ready 
for  distribution  and  additions  will  be  listed  as  they 
near  completion.  Any  suggestions  or  requests  from 
surgeons,  on  a  specified  subject,  will  be  given  due  con- 
sideration as  to  the  possible  production  of  the  film. 


I 


March,  193  6 


IN  SIGHT 


IN  MIND! 


•  Education  marches 
forward ! 

•  Visual  instruction 
advances  on  a  vocal 
stepping-stone. 

•  UNIVERSAL  with  a 
leader's  background 
of  fifteen  years  of  non- 
theatrical  service,  leaps 
ahead  of  the  times! 

•  What  are  your 
needs? . .  .  Geographi- 
cal subjects,  musical, 
historical,  current 
events,  cartoon  come- 
dies, feature-length 
motion  pictures?  .  .  . 
Consult  UNIVERSAL! 

Write  for  further 
information  to 

NON-THEATRICAL  DEPARTMENT 

Universal  Pictures 
Corporation 


ROCKEFELLER  CENTER 


NEW  YORK,  N.  Y. 


Page  97 


We've  Made  a 
NEW 

MICROSCOPE 


for  This  Boy  . . . 

He  !Js  ^ou/i  §tuc)eHt 


MeAVIER  and  more  durable — for  rough 
handling;  simple  and  precise  in  adjustments — for  an 
amateur  microscopist's  operation; — that's  the  new 
Spencer  No.  63  Microscope  for  school  laboratories. 

This  No.  63  Microscope  has  three  features 
that  recommend  it  for  student  use.  (1)  A  larger 
stage,  125mm.  square,  and  (2)  Greater  distance 
from  arm  to  the  optical  axis  105mm. —  make  it  eas- 
ier for  the  student  to  adjust  his  slide  for  observa- 
tion. (3)  The  objective  cannot  be  racked  down 
through  the  slide. 

Students  often  find  it  difficult  to  locate  a 
particular  object  when  the  working  distance  is  lim- 
ited and  the  field  observed  small.  The  objectives, 
being  parfocalized,  the 
student  can  use  the  lower 
power  objective  as  a 
finder. 


No.  63  Microscope 


For  complete  details 
on  this  No.  63  and  other 
student  microscopes,  write 
for  Folder  M-70.  Please 
address  Dept.  R-3. 


Spencer  Lens  Company 

Buffalo  ^B  New  York 


Page  98 


The  Educational  Screen 


New  Keystone  Lantern -Slide  Units  in  PItysics 

For  High-School  Classes 

and 

For   Review   Classes   in   College 


38  Units  Now  Available  —  Others  in  Preparation  —  Covering  All  the 
Fundamental  Subject  Matter  of  the  High-School  Course  in  Physics 

All  Slides  of  the  Reversed  Type  —  Beautifully  Clear  and  Impressive 

We  shall  be  glad  to  send  a  complete  title  list,  or  a  few  sample  slides  from  these  units  in  order 
that  prospective  purchasers  may  examine,  at  first  hand,  the  character  and  quality  of  the  work. 

KEYSTONE  VIEW  COMPANY 

MEADVILLE,      PENNA. 


Additions  to  Garrison  Library 

Following  the  recent  announcement  of  the  release 
of  Crime  and  Punishment  in  16nim.  sound-on-film, 
the  Garrison  Film  Distributors  Inc.,  New  York  City, 
now  announce  the  release  of  three  more  distinguished 
sound  films.  The  Passion  of  Joan  of  Arc,  directed  in 
France  by  Karl  Dreyer  and  synchronized  with  a  musi- 
cal score  and  English  talk ;  the  German  productions 
of  A  Walts  by  Straus,  and  Schubert's  Fruhlingstrauin 
(Dream  of  Spring),  are  the  three  new  additions  to 
their  Bhte  List  of  exceptional  films.  The  two  German 
films  have  super-imposed  English  titles  on  the  screen. 
The  Joan  of  Arc  film,  regarded  for  years  as  a  splendid 
film  for  high  school  and  college  use,  has  been  highly 
praised  by  all  who  have  seen  it. 

The  French  production  of  the  life  of  Pasteur,  mag- 
nificently interpreted  by  Sascha  Guitry,  will  also  be 
available  from  this  library  April  1st.  It  is  accompa- 
nied by  complete  English  dialogue  titles. 

Two  New  Industrials 

The  Otis  Elevator  Company,  which  has  been  using 
16  mm.  motion  pictures  for  several  years,  has  re- 
cently released  two  new  silent  films  entitled  Alternating 
Current  Motor  and  Riding  Skyward.  The  first  film 
shows  in  detail  the  manufacture  and  assembly  of  an 
elevator  motor  and  is  suitable  for  showings  in  col- 
leges, technical  schools  and  engineering  groups.     Rid- 


ing Skyzvard  is  an  institutional  film  which  depicts  the 
strides  made  in  transportation  during  the  past  century 
and  shows  how  vertical  transportation  has  kept  pace 
with  the  improvement  in  building  construction.  Many 
interesting  types  of  old  elevator  equipment  are  shown 
introductory  to  the  Automatic  Signal  Control  Elevator, 
which  is  so  featured  as  to  give  a  clear  conception  of 
its  operation. 

The  films  are  distributed  through  the  Company's 
offices  and  representatives  located  in  approximately  400 
cities  throughout  the  world  and  are  available  for  show- 
ings to  clubs,  colleges,  technical  schools  and  other  or- 
ganized groups.  A  complete  list  of  films,  including 
12  other  subjects,  may  be  had  from  any  branch  office 
or  from  the  Publicity  Division  at  the  New  York  City 
office. 

A  Novel  Sport  Subject 

Coleman  Clark,  world's  foremost  exponent  of  table 
tennis  which  is  enjoying  such  widespread  popularity, 
has  just  made  a  motion  picture  on  the  subject  for 
M-G-M.  The  reel  will  be  released  shortly.  For  the 
first  time  devotees  of  this  fast  and  fascinating  sport 
will  witness  the  interesting  technique  of  play  in  both 
normal  and  slow  motion.  The  mysteries  of  spin  and 
trick  shots  will  be  graphically  revealed. 

Mr.  Clark  was  an  all-round  athlete  at  the  University 
of  Chicago  where  he  was  a  member  of  the  football, 
basketball  and  baseball  teams. 


I 


March,  193  6 


Page  99 


Teach  the  Visual  Way 

with    PHOTOART 

VISUAL    UNITS 

A  complete  and  well  organized  picture  series.  The 
descriptive  material  above  each  picture  will  aid  the 
child    in  interpreting  the  picture  correctly. 

At  present  we  have  ready  for  you 

Means  of  Transportation 67  cards 

Japan 58  cards 

Coal  Mining 56  cards 

V.    S.    Northern  Interior 74  cards 


$2.25 
1.95 
r.95 
2.25 


Actual  Size  SxWa 

Photoart  House 


Send  for  sample  card  today. 


844  N.   PLANKINTON   AVE. 
MILWAUKEE.   WISCONSIN 


DeVry  Summer  School  Changes  Name 

The  j,n-owth  of  the  DeVry  Summer  School  has 
reached  such  proportions  that  the  original  name  seems 
no  longer  appropriate.  Last  year's  attendance  showed 
an  increase  of  over  2007f  •  The  Resolutions  Commit- 
tee voted  to  change  the  name  to  The  National  Con- 
ference of  Visual  Education  and  Film  Exhibition — 
as  more  in  keeping  with  the  type  of  program  offered 
and  the  national  character  of  the  attendance.  Herman 
A.  DeVry  of  Chicago  will  continue  to  sponsor  the 
Conference,  but  it  will  no  longer  bear  his  name,  and 
because,  more  and  more,  it  becomes  a  symposium  for 
the  showing  and  discussion  of  the  better  non-theatrical 
films  of  all  producers,  the  word  National  is  more  ap- 
propriate. 

As  a  National  l^^ilm  Exhibition,  the  Conference 
offers  an  unrivaled  opportunity  for  teachers  and  ad- 
vertising men  to  view  in  one  place  the  outstanding 
films  of  the  year — and  to  compare  notes  on  the  desir- 
able features  of  Industrial  and  Educational  films  con- 
sidered in  the  light  of  modern  pedagogical  and  sales 
technique. 

The  next  meeting  will  be  held  June  22nd  to  25th  at 
Chicago.  As  this  is  the  week  before  the  N.  E.  A.  at 
Portland,  teachers  will  take  advantage  of  the  reduced 
rates  and  stop  over  privileges. 


B 


R.  Burns  of  International  Projector  Dies 

Samuel  R.  Burns,  President  of  the  International 
Projector  Corporation,  Secretary  and  Vice-President 
of  General  Theatres  Equipment,  Inc.,  Executive  Vice- 
President  of  Enos  Richardson  &  Company  and  the 
Richardson  Manufacturing  Commpany  passed  away  in 
the  Post  Graduate  Hospital,  New  York  City,  Thurs- 
day morning,  March  5th. 

Mr.  Burns  was  a  Fellow  of  the  Society  of  Motion 
Picture  Engineers,  and  at  one  time  President  of  the 
Nicholas  Power  Company,  Inc.  He  was  connected 
with  the  motion  jiicture  industry  for  the  past  twenty 
years.  S.  R.  Burns  was  born  in  New  York  City  in 
1882.  He  served  with  the  107th  Regiment  on  the 
Mexican  Border  and  was  a  member  of  the  7th  Regi- 
ment Veterans'  Organization.  He  was  also  a  member 
of  the  Lodge  of  the  Temple,  No.  110,  F.  &  A.  M., 
Jersey  City,  New  Jersey,  and  the  Forest  Hill  Field 
Club,  Bloomfield,  New  Jersey. 


nApproved! 


Our  plan  for  schools  recently  presented  at 
the  N.E.A.  Convention  in  St.  Louis  has 
been  approved  by  authorities  on  Visual 
Education  from  various  sections  of  the 
country. 

The  availability  of  suitable  16  mm  sound 
films  for  recreation  and  classroom  use 
and  the  sturdy  and  dependable  RCA  pro- 
jector have  solved  a  long-standing  and 
vexing  problem. 

Both  may  now  be  secured  on  terms  well 
within  the  budget  of  any  school  system. 

Full  information  may  be  obtained 
upon  request. 


Walter  0.  Gutlohn,  Inc. 


35  W.  45th  Street 


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INTERNATIONAL     EDUCATIONAL     PICTURES 
Room  A  40  Mount  Vernen  St.,  Boston 


Page  100 


The  Educational  Screen 


Here    They    Are 


riLMS 

Bray  Pictures  Corporation  (3,  6) 

729   Seventh  Ave.,   New  York  City 

Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport,  la. 

Eastman  Kodak  Co.  (4) 

Rochester,   N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 

Rochester,  N.  Y. 

Eastman  Kodak  Stores,  Inc.  (6) 

1020    Chesnut    St.,    Philadelphia,    Pa 
606  Wood   St.,   Pittsburgh,   Pa. 

Edited  Pictures  System,  Inc.         (1,  4) 
330  W.  42nd  St.,  New  York  City 

Edwards  Productions  (6) 

729   Seventh  Ave.,   New   York   City 

(See  advertisement  on  page  94) 

Films  Incorporated  (5) 

500  Fifth  Ave.,   New  York  City 
(See  advertisement  on  page  95) 

Garrison  Film  Distributors  (2,  5) 

729   Seventh  Ave.,  New   York  City 

(See  advertisement  on  page  96) 

Walter  O.  Gutlohn  Inc.  (5) 

35  W.  4Sth  St.,  New  York  City 

(See  advertisement  on  page  99) 

Harvard  Film  Service  (3,  6) 

Biological    Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 

Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,   III 

(See  advertisement  on  page  96) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
The  Manse  Library  (4,  5) 

409  McAlphin  Ave..  Cincinnati,  O. 

(See  advertisement  on  page  96) 

Pinkney  Film  Service   Co.  (1,  4) 

1028    Forbes    St.,    Pittsburgh,    Pa. 
Ray  Bell  Films,  Inc.  (3,  6) 

2259  Ford  Rd.,  St.  Paul,  Minn. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal   Pictures   Corp.  (3) 

Rockefeller    Center,   New   York   City 

(See  advertisement  on  page  97) 
Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 
Wholesome  Films  Service,  Inc.      (3,  4) 

48  Melrose   St.,   Boston,  Mass. 
Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page  70) 

Bell  &  Howell  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    III. 

(See  advertisement  on  inside  back  cover) 

Eastman    Kodak    Co.  (4) 

Rochester,    N.   Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 


Edited   Pictures  System,  Inc.  (1) 

330   W.   42nd    St.,    New   York  City 

Herman  A.  DeVry,  Inc.  (3,  6) 
1111    Center    St.,    Chicago 

(See  advertisement  on  page  89) 

Holmes  Projector  Co.  (3) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on  page  94) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See  advertisement  on  page  96) 

International  Projector  Corp.  (3,  6) 
90  Gold  St.,  New  York  City 

(See  advertisement  on   inside  front  cover) 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  96) 

National  Camera  Exchange  (6) 

5  South  Fifth  St.,  Minneapolis,  Minn. 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  page  91) 

Regina  Photo  Supply  Ltd.  (3,  6) 

1924   Rose    St.,    Regina,    Sask. 

S.  O.  S.  Corporation  (3,  6) 

1600  Broadway,  New  York  City 

Sunny  Schick,  National  Brokers  (3,  6) 
407   W.   Washington   Blvd. 
Fort  Wayne,  Ind. 

(See  advertisement  on  page  92) 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  System,  Inc.         (2,  5) 

Allegheny   Ave.   at   Ninth   St. 
Philadelphia,  Pa. 

(See  advertisement  on  page  93) 

Victor  Animatograph  Corp.  (6) 

Davenport,  Iowa 

(See  advertisement  on  page  72) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston,  Mass. 

Weber  Machine  Corp.  (2,  5) 

59  Rutter  St.,  Rochester,  N.  Y. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES 

J.  Greenwald,  Inc. 

681  Le,xington  Ave.,  New  York  City 
The  Photoart  House 
844   N.    Plankinton   Ave.,   Milwaukee, 
Wis. 

(See  advertisement  on  page  99) 

POST  CARD  REPRODUCTIONS 

J.  Greenwald,  Inc. 

681   Lexington  Ave.,  New  York  City 

SCREENS 

Da-Lite  Screen  Co. 

2721    N.    Crawford   Ave.,   Chicago 

( See  advertisement  on  page  95) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
605  Wood  St.,  Pittsburgh,  Pa. 
Motion  Picture  Screen  &  Accessories  Co. 
524  W.  26th  St.,  New  York  City 
(See  advertisement  on  page  96) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 


A     Tracde     Directory 
for  the   Visual    Field 


SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 

Edited    Pictures    System,   Inc. 

330  W.  42nd   St.,  New  York  City 
Ideal  Pictures  Corp. 

30  E.   Eighth   St.,   Chicago,   III. 

(See  advertisement  on  page  96) 

Keystone   View  Co. 
Meadville,    Pa. 

(See  advertisement  on  page  98) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New   York  City 

(See  advertisement  on  page  96) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  111. 

Spencer   Lens   Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  9T) 

Visual  Education  Service 
470  Stuart  St.,  Boston,  Mass. 

Visual  Sciences 
Suffern,  New  York 

I  See  advertisement  on  page  96) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111   Center   St.,  Chicago 

(See  advertisement  on  page  89) 

Keystone  View  Co. 
Meadville,  Pa. 

(See  advertisement  on  page  98) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Eausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on  page  69) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
E,  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 
Regina  Photo  Supply  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
Society  for  Visual  Education 

327  S.  La  Salle  St.,  Chicago,  111. 
Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  97) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

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sound   and   silent. 

(4)   indicates    firm   supplies 

16   mm. 

silent. 

(5)   indicates    firm   supplies 

16   mm. 

»ound-on-film. 

(6)    indicates    firm    supplies 

16   mm. 

sound   and    silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


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Educationa 


COMBINED  WITH 


Visual  Instruction  News 


CONTENTS 


IP  Papers  from  St.  Louis  Meeting  of 

The  Department  of  Visual  Instruction 

Controversial  Problems  in  Visual  Education 

The  Jones  Rotary  System  of  Instruction 

Visual  Aids  in  Remedial  Reading 

A  Symposium  on  Sound  and  Silent  Films 
in  Teaching 


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APRIL 


1936 


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Sound  Projectors  will  be  sent  upon  request  As  the  only  manufacturers  of  a  complete  line  of  35  mm.  Motion 
Picture  Projectors  we  are  in  a  position  to  impartially  recommend  the  model  which  is  most  satisfactory  for 
specific  requirements.  This  is  particularly  important  in  a  field  which  includes  schools,  colleges,  universities, 
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\unm€\r  projectors  ~  distributed   by   national  theatre   supply  company 


ipril,  1956 


Page  103 


Edit 


oria 


A  FEATURE  of  the  program  at  the  Port- 
land meeting  of  the  Department  of  Visual 
Instruction  of  the  N.  E.  A.  will  be  the  showing 
of  selected  films  made  by  schools  upon  their 
own  activities.  Principal  E.  H.  Herrington  of 
the  Alcott  School,  Denver,  Colorado,  is  ex- 
pected to  discuss  the  development  of  film-pro- 
duction by  schools,  and  will  take  charge  of  the 
film-showing.  Dr.  Herrington,  and  a  nation- 
wide Committee  of  Principals,  are  conducting 
an  extensive  investigation  of  such  productions. 
.\I1  schools  who  have  produced  such  films 
should  not  fail  to  send  in  full  data  at  once  for 
inclusion  in  the  complete  and  authoritative  find- 
ings to  be  compiled  by  the  investigating  com- 
mittee. 

PORTLAND  dates  for  the  D.  V.  I.  meetings 
have  been  fixed  in  the  afternoons  of  Tues- 
day to  Thursday,  June  30th  to  July  2nd,  at  the 
Congress  Hotel,  which  will  be  Department 
headquarters.  The  Congress  Ts  most  conven- 
iently located  in  relation  to  other  hotels  and  the 
Auditorium,  and  affords  an  excellent  room  for 
assembly  purposes,  with  complete  projection  fa- 
cilities available.  The  sessions  will  consist  of 
the  Opening  Luncheon  ($1.00)  and  Registration 
at  12 :30  Tuesday,  followed  by  an  afternoon 
session  in  the  same  room.  The  same  schedule 
will  be  followed  each  day,  with  luncheon  and 
afternoon  session.  The  holding  of  all  functions 
in  the  same  room  should  make  for  ma.ximum 
convenience,  comfort  and  efficiency. 

THE  D.  V.  I.  caravan  idea — Chicago  to  Port- 
land— evidently  appeals  strongly  to  many, 
but  definite  decisions  to  join  can  hardly  be  said 
to  be  "pouring  in"  as  yet.  The  "caravan"  will 
function  perfectly  whether  there  are  two  cars  or 
twenty  times  that  number.  We  need  every  posi- 
tive "yes"  in  hand  within  the  next  four  weeks 
for  accurate  preparation  of  the  trip-schedule  to 
appear  in  the  May  issue. 

I  X  OUR  May  issue  we  shall  run  our  usual  an- 
nual listing  of  courses  in  visual  instruction  to 
be  given  throughout  the  country  this  coming 
summer.  We  aim  to  make  the  1936  list  more 
nearly  complete  than  ever  before.  Every  edu- 
cator or  institution  planning  such  courses  are 
urged  to  report  at  once  title  of  course,  instruc- 
tor, time,  place  and  any  other  pertinent  data. 
Please  note  we  say  "at  once". 

THIS    issue,    with    March,    completes   the   re- 
printing of  all  papers  and  discussions  of  the 
St.  Louis  meetings. 

Nelson  L.  Greene. 


Educational    Screen 

Combined    with 

Visual    Instruction    News 
APRIL,  1936 

VOLUME    XV  NUMBER    4 


CONTENTS 

Controversial  Problems  in  Visual  Education. 

H.   Ambrose   Perrin - 1 05 

The  Jones  Rotary  System  of  Instruction.  Arthur  O.  Baker.  1 07 

Visual  Aids  in  Remedial  Reading.   Emmett  Albert  Betts....l08 

A  Symposium  on  Sound  and  Silent  Films  in  Teaching. I  I  I 

The  Silent  Film  in  Teaching.  J.  E.  Hansen I  I  1 

The  Place  and  Values  of  Sound  Pictures  in  Teaching. 

Charles  F.  hloban,  Jr. 113 

News  and  Notes.  Conducted  by  Josephine  Hoffman I  I  7 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 118 

The  Film  Estimates. .— - 1 20 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis -. 122 

School  Department. 

Conducted  by  F.  Dean  McClusky.. 124 

Among  the  Producers...-: ---. I  30 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field....  I  32 

Contents  of  previous  issues  listed   In   Education   Index. 


General  and  Editorial  Offices,  64  East  Lake  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  April,  1936  by  the  Edu- 
cational Screen,  Inc.  Published  every  month  except  July  and  August. 
$2.00  a  Year         (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 

THE  EDUCATIONAL  SCREEN,  Inc. 

DIRECTORATE  AND  STAFF 


Herbert  E.  Slaught,  Pres. 
Nelson  L.  Greene,  Editor 
Ellsworth  C.  Dent 
Evelyn  J.  Baker 
Josephine  Hoffman 


Stanley  R.  Greene 
R.  F.  H.  Johnson 
Marlon  F.  Lanphler 
F.  Dean  McClusky 
Stella  Evelyn  Myers 


Page  104 


The  Educational  Screen 


-with  exclusive  Projector 
and  Sound  Features 


mm.  ANIMATOPHOXE  embodies  exclusive 
refinements    that    cannot    be    ig^nored  .  .  .  ad- 
vantaj^es   that   have   made   it   the   world's   most 
widely    used,    most    moderately    priced    Sound 
])icture   reproducer.     Onlv    in    ANIMATO- 
PHOXE,  for  instance,   will   you   find    POSI- 
TIVE Protection  against   Film   Damage    .    .    . 
PERFECT  Simplification  insuring  trouble-free  opera- 
tion and  maintenance  .  .  .  with  decidedly  superior  sound 
and  picture  reproduction!     Model  24  (A.C.)   for  class- 
room and  LARGE  Auditorium.     Model  25  (A.C. -DC.) 
.  .  .  world's  lightest  and  most  compact  .  .  .  for  classroom 
and  small  auditorium.     Write  for  literature    .    .    .    .'Ksk 
for  Demonstration. 

VICTOR  ANIMATOGRAPH  CORPORATION 

DAVENPORT,  IOWA 


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Coin'cnieiitly  housed  in 
two  compact  cases. 


April,  19}  6 


Proceedings  of  the  Department  of  I'isual  Instruction  Meeting 


Page  105 


Controversial  Problems  In  Visual  Education 


By      H.      AMBROSE        PERRIN 

Superintendent    of    Schools,    Joiiet,    III. 


THE  FIRST  third  of  the  present  century  is  characterized 
hy  the  production  and  perfection  of  new  mechanical  de- 
vices in  the  field  of  education.  Apparatus  and  materials 
for  applying  sight  and  sound  hroui^ht  the  present  expansion 
and  refinement  movements  which  challenge  the  attention  of 
the  educational  world. 

It  was  Charters  in  1934  who  literally  tlirew  a  homb  into  the 
rcsistii  g  educational  philosophy  of  the  conservatives.  He  said; 
"When  the  history  of  Education  is  written  the  first 
decade  of  the  twentieth  century  will  be  remembered  as  a 
period  of  the  invention  of  not  one  but  two  instruments  of 
edu;:ation  in  rank  equal  to  the  invention  of  the  alphabet  and 
the  printing  press.  These  are  the  motion  picture  and  the 
radio."! 

In  the  same  year,  C,  M.  Koon  dynamically  proclaimed  that 
the  newest  visual  educational  device  had  learned  to  talk.  He 
said : 

"For  years  visual  instruction  conducted  experiments  and 
wrote  articles  to  prove  the  advantages  of  sight  over  sound 
as  a  means  of  instruction.  Just  about  the  time  they  felt 
their  case  was  won  and  went  home,  they  discovered  that 
the  most  promising  member  of  their  visual  family — the  mo- 
tion picture — had  learned  how  to  talk."2 

The  intense  interest  in  the  coming  of  the  newer  mechanical 
aids  to  education  continues  in  bursts  of  enthusiasm,  on  the  one 
liand,  and  in  cautious  measurement  of  the  contribution,  on  the 
other  hand.  From  all  the  effort  put  forth,  all  the  experimen- 
tation, all  the  controversy,  comes  a  realizatio;i  that  the  con- 
tention of  visualists,  from  Pcstalozzi's  'sense  training"  and 
Comenius'  "picture  training"  to  the  day  of  the  projected  pic- 
ture with  its  setting,  movement,  and  auditory  accompaniment, 
marks  the  trail  of  honest  endeavors  to  make  educational  ex- 
periences concrete,  meaningful,  and  life-like. 

At  the  outset,  it  is  desirable  to  distinguish  visual  from  other 
forms  of  learning.  Jenkins  discussing  "Visual  Aids  in  Social 
Science"  makes  a  careful  distinction  which  serves  our  purpose. 
He  says : 

"\'isual  instruction  emi)hasizes  concrete  imagery  in  the 
learning  process.  'Other  instruction'  stresses  the  im- 
portance of  verbal   imagery. "3 

This  distinction  by  Jenkins  leads  to  the  first  controversial 
problem  for  our  consideration,  namely :  to  what  extent  is 
education  dependent  upon  language  or  verbal  imagery,  on  the 
one  hand,  and  upon  concrete  imagery,  on  the  other  hand. 
Language  is  a  fine  art.  It  evolved  from  efforts  to  communi- 
cate concrete  situations  and  relationships.  What  has  happened 
to  its  use  in  our  educational  planning?  It  has  taken  first  place. 
Perhaps  it  should,  but  when  education  becomes  verbalism, 
when  one  word  is  defined  only  in  terms  of  other  words,  when 
the  concrete  imagery  back  of  the  verbal  imagery  is  little  more 
than  the  letters  or  word-forms  used  in  defining  or  explaining, 
when  we  are  characterized  as  being  highly  verbose  in  our 
educational  experiences,  perhaps  it  is  time  to  recognize  the 
necessity  of  providing  concrete  imagery  in  the  learning  process 
so  that  language  may  have  vital  meaning.  Just  to  what  ex- 
tent such  concrete  imagery  is  necessary  in  order  that  language 
may  function  for  the  purpose  of  communication  becomes  a 
problem  for  scientific  research.  We  know  something  about 
it,  but  we  have  very  little  scientific   evidence  to  justify  the 


1  W.    W.   Chnl-td-s,    Influence   of   Molinii    Pirluien   on   Children,   National 
F.diualiun   .\si-ociatioii   Year  Book    (1934),  p.  382. 

2  C   M.   Koon,   Kelntion  of  Films  and  the  Radio  to  Classroom  Instruc- 
tion.  Nulional   Education  Association  Year  Book   {1934),  p.   785. 

3  John  .T.   Jenkins,    Visual  Aids  in  Social  Science,   Educational   Screen 

(.Tune  1935),  p.  170. 


ordinary  conclusions  which  the  Philosophy  of  Education  and 
the  Science  of  Education  so  complacently  adopt.  Indeed,  we 
know  little  about  the  relationship  except  on  the  most  elemental 
stage  of  learning.  On  the  higher  levels  of  intellectual  language 
functions,  not  even  elemental  experimentation  furnishes  any 
basis  for  our  common  conclusions. 

A  second  problein  for  our  consideration  is  the  educational 
substitution  of  the  artificial  for  the  real.  When  available,  the 
real  experience  furnishes  the  most  satisfactory  basis  for  con- 
crete imagery.  Yet  the  instructor  in  physiography  gets  out 
the  clay  or  sand  pan  and  lets  a  little  stream  of  water  drip 
from  a  tin  pipe  in  order  to  show  erosion,  when  every  child 
in  the  class  came  into  the  building  with  muddy  feet  caused  by 
walking  tlirough  the  soils  that  covered  the  sidewalks  as  a  re- 
sult of  the  rain  that  continued  to  erode  on  all  sides  of  the  school 
plant  as  those  very  students  came  to  school.  What  heights  of 
error  creep  into  our  so  called  visual  education  when  a  little 
hole  full  of  water  in  a  sand  pan  called  a  "lake"  is  substituted 
for  the  real  lake  in  the  immediate  neighborhood!  Yet  great 
universities  set  up  these  miniature  "self  working  visual  devices 
operated  by  pressing  the  button"  when  within  a  few  blocks 
nature  has  provided  the  most  magnificent  examples.  We  may 
have  a  problem  here  both  in  teacher  training  and  in  local  cur- 
riculum construction. 

Third,  the  fundamental  visual  instruction  problem  persists : 
what  kinds  of  acts  can  best  be  taught  by  the  different  kinds 
of  visual  aids.  Some  experiinentation  has  been  done  and  is 
now  being  done  on  this  problem,  but  we  need  more  extended 
experiinentation  and  more  accurate  measurements  and  inter- 
pretations. Indeed,  our  method  of  registering  results  is  alto- 
gether too  much  influenced  by  the  very  verbalism  which  con- 
crete imagery  is  proposed  to  cure. 

A  corollary  problein  inquires  as  to  the  merit  of  the  object, 
the  picture,  plain  or  colored,  the  graph,  the  map,  the  diagram, 
the  slide,  the  still  film,  and  the  motion  picture,  silent  or  sound, 
as  a  means  of  furnishing  concrete  aid  at  all,  on  the  one  hand, 
and  as  a  means  of  accomplishing  the  purpose  intended,  on  the 
other  hand.  An  example  from  personal  experience  is  in  con- 
nection with  the  Commonwealth  health  teaching  experiment 
carried  on  in  our  local  system.  Certain  classes  were  taught 
with  usual  materials  and  aids,  others  used  motion  pictures. 
Very  little,  if  any,  fundamental  difference  in  measurable  re- 
sults was  found  between  the  two  sets  of  classes.  Yet  we  were 
not  sure  that  the  measures  revealed  all  the  results.  Further- 
more, the  experiment  failed  to  determine  the  relative  merit  of 
one  type  of  school  experience  as  against  another  where  differ- 
ent visual  aids  were  involved.  Certainly  we  have  much  to 
learn  if  purpose  and  merit  are  to  be  our  guides  in  selecting 
given  types  of  visual  aids. 

We  should  recognize  the  fact  that  the  period  of  concise  ex- 
perimentation in  the  field  of  visual  education  has  just  begun. 
Particularly  may  this  assumption  be  applied  to  the  new  me- 
chanical devices  which  have  become  available.  We  need  to 
know  more  about  what  visual  aids  to  use  for  specific  purposes, 
the  technique  of  use,  the  method  of  measurement  of  results,  and 
the  technique  of  interpretation.  The  suggestion  might  be  ap- 
propriate that  some  central  agency  should  assume  the  respons- 
ibility of  listing  and  interpreting  the  data  secured  in  all  ex- 
perimental use  of  visual  aids  to  the  end  that  the  information 
in  concise  form  shall  be  available  to  all  instructors  and  di- 
rectors. 

P'ourth,  what  about  the  motion  picture,  silent  or  sound,  in 
connection    with   the   creative   pupil   activity   program   as   now 


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Proceedings  of  the  Department  of  Visual  Instruction  Meeting    The  Educational  Screen 


emphasized  in  our  best  educational  procedure.  Must  the  teach- 
er always  be  the  contributor  of  the  motion  picture,  or  shall  the 
place  of  the  motion  picture  in  educational  experience  be  made 
so  definitely  a  part  of  student  consciousness  that  its  suggestion 
will  come  as  a  natural  result  of  student  selection  of  source 
materials  ?  Problem  upon  problem  arises  as  we  consider  the 
functional  side  of  modern  creative  pupil  activity  in  learning 
experiences  as  opposed  to  the  totalitarian  teacher-provided  and 
teacher-directed  procedure  so  characteristic  of  the  older  rou- 
tinized  type  of  training. 

While  on  this  phase  of  motion  picture  use,  we  may  ask 
where  is  the  best  place  in  the  experience  unit  to  use  it.  Is  it 
as  an  introduction  or  a  preview  of  the  whole  unit?  Is  it  as  a 
culminating  or  review  experience  weaving  the  other  types  of 
assimilation  together?  In  the  light  of  present  experimental 
results  we  probably  would  choose  the  motion  picture  as  an 
introduction  to  the  unit,  an  overview.  But  from  the  view- 
point of  purpose,  are  we  sure  that  motion  pictures  should  not 
be  used  at  different  points  in  the  assimilation  process  within 
the  unit  experience?  Again,  we  observe  how  intricate  is  the 
problem  of  z(.'heii  to  use  even  a  visual  aid  of  known  merit.  Ex- 
perimentation of  the  scientific  type  will  answer  a  part  of  these 
questions.  Objective  use  in  the  classroom  will  contribute 
much.  In  any  case,  the  results  of  such  experiments  and  ob- 
jective use  should  be  catalogued  and  made  available. 

Fifth,  the  technique  of  using  the  motion  picture  is  so  new 
and  perhaps  so  far  from  being  adequately  known  that  we  are 
immediately  confronted  with  the  problem  of  the  relationship 
of  the  motion  picture  to  individualized  instruction,  or,  indeed, 
to  small  group  instruction  within  the  class.  Has  tlie  motion 
picture  any  merit  at  all  for  this  purpose,  or  do  wc  merely 
lack  the  necessary  technique  of  use? 

Sixth,  assuming  that  we  have  the  answers  to  many  of  the 
vital  problems  of  technique,  purpose,  merit,  and  placement, 
how  are  we  to  get  the  motion  picture  desired  at  the  exact  time 
that  it  fits  the  experience  unit?  Indeed,  is  there  a  decided  loss 
if  the  picture  comes  too  remote  from  the  vital  spot  that  it  fits  ? 
These  questions  raise  the  inquiry  as  to  methods  of  servicing 
schools  with  the  newer  types  of  visual  aids  and,  for  that  mat- 
ter, the  whole  question  of  servicing  all  visual  aids.  So  far 
as  we  are  able  to  assume  the  answers  to  these  questions,  there 
seems  little  doubt  that  the  class-use-schedule  furnishes  the  in- 
telligent basis  of  organizing  such  service  whether  within  the 
building,  from  a  central  depository,  or  from  a  rental  library 
or  state  center  as  is  frequently  the  case,  particularly  with  ref- 
erence to  motion  pictures. 

What  shall  we  say  of  the  showing  of  pictures  on  system 
schedule  for  building  or  grade  or  class,  because  the  subject 
matter  is  appropriate  in  general?  Is  there  anything  to  learn- 
ing in  school  through  vicarious  experience?  Does  such  ex- 
perience function  in  life  out  of  school  and,  if  so,  how  far  will  it 
be  permissable  in  school?  Is  purposeful  showing  of  pictures 
for  vicarious  experience  in  school-time  permissible  when  there 
is  no  method  by  which  pictures  can  be  secured  other  than 
through  system  circuits?  Personally,  I  believe,  as  a  matter 
of  educational  philosophy,  that  vicarious  experience  is  a  sup- 
plement to  direct  experience  in  life  and  that  it  may  be  so  in 
school.  Furthermore,  I  believe  that  instructors  can  select 
pictures  that  furnish  desirable  experiences  outside  of  and  extra 
to  the  more  direct  use  in  connection  with  a  specific  experience 
unit  in  the  curriculum.  Little,  however,  can  be  said  for  the 
showing  of  motion  pictures  just  because  the  building  is  serv- 
iced with  them,  unless  the  purposeful  side  is  built  up  by  the 
instructors.  Recreation  as  a  purpose  is  as  permissible  as  any 
other,  but  it  is  not  included  in  the  foregoing  consideration. 

Seventh,  passive  reception  vs.  active  reception  of  motion 
pictures  is  no  different  fundamentally  than  for  any  other  visual 
aid.  The  problems  involved  are:  (1)  definite  objectives  of 
instruction,  (2)  previous  concrete  experience  of  the  learner, 
(3)  intellectual  development  of  the  learner,  and  (4)  the  merit 
of   the   material   for   the   specific   purpose   in   the   learning   ex- 


perience, the  latter  sometimes  described  in  terms  of  appro- 
priateness and  difficulty.  The  problem  of  passivity  or  ac- 
tivity in  reception  is  solved  in  tt-rms  of  good  technique  of 
instruction. 

Perhaps  this  is  an  opportunity  to  raise  tlie  corollary  problem 
of  how  a  teacher  is  to  secure  the  necessary  technique  in  the 
use  of  the  more  modern  types  of  mechanical  aids  to  visual  in- 
struction, I'ortunately  the  answer  is  pretty  well  known.  Teach- 
er training  institutions  are  increasingly  demanding  such  courses 
of  teachers  before  graduation.  Classes  for  teachers  in  service 
are  being  offered  in  school  systems  by  university  extension  or 
by  some  local  competently  trained  teacher.  It  behooves  all  who 
are  fundamentally  interested  in  the  wise  use  of  these  modern 
type  aids  to  lend  all  possible  assistance  to  the  efforts  being 
made  to  include  courses  in  technique  in  all  teacher  training 
curricula. 

Eighth,  what  about  silent  and  sound  motion  pictures?  Less 
than  two  years  ago  the  International  Congress  definitely  em- 
phasized the  importance  of  the  instructor  in  doing  the  explana- 
tion work.  Perhaps  this  was  based  upon  the  age-long  preroga- 
tive of  the  teacher,  carrying  over  from  the  days  of  direct 
oral  instruction.  Two  extracts  from  that  report  show  the 
reaction  at  that  time : 

1.  That  the  use  of  the  cinema  should  not  interfere  with 
the  educational  influence  of  the  teacher,  nor  with  the 
effect  of  his  words.  It  is  he  who  should  put  the  ques- 
tions, explain,  comment,  inspire  and  direct  the  activity 
and  response  of  pupils. 

2.  That,  consequently  the  teaching  film  should  not  be 
sound  or  talking,  but  a  silent  film  in  which  the  commen- 
tary is  made  by  the  teacher,  except  where  the  sound  or 
talking  film  may  usefully  complete  and  strengthen  the 
visual  impression.4 

The  whole  question  is  raised  as  to  the  functional  use  of  silent 
and  sound  pictures.  Again,  experimentation  alone  must  fur- 
nish the  answer.  No  amount  of  philosophy  will  suffice.  Pur- 
pose will  always  be  a  factor.  Perhaps  kind  of  sound  will 
prove  important.  If  the  sound  is  a  natural  part  of  the  picture 
environment,  goes  with  it  as  an  integral  part,  thus  adding  to 
its  living  quality,  there  can  be  little  adverse  criticism  of  the 
use  of  sound  pictures.  But  the  problem  becomes  involved  when 
an  outside  person,  in  sound,  takes  the  instruction  away  from 
the  real  class  teacher.  Yet  purpose  and  expertness  may  prove 
to  be  factors,  as  seems  to  be  the  case  in  the  University  of 
Chicago  pictures  of  Molecular  Theory,  etc.  It  is  evident  that 
the  problem  is  as  yet  unsolved  in  many  of  its  aspects.  Well 
may  we  wonder  whether  Winston  Churchill  is  right  in  his  arti- 
cle? in  last  October's  Colliers  when  he  picks  an  individual  to 
do  characterizations   in  the  silent,   "Everybody's  Language." 

Finally,  what  about  the  problem  of  teaching  motion  picture 
appreciation?  There  is  little  question  that  some  progress  has 
been  made  in  the  method  of  critical  consideration  of  films.  Sets 
of  films  for  such  teaching  purposes  are  being  selected  and  will 
be  available  to  the  schools.  Is  this  an  English  problem,  as 
some  would  have  us  believe,  or  is  it  an  extra  curricular  ac- 
tivity that  can  be  handled  cn-mass  in  assembly,  etc?  The 
answer  awaits  experimental   results. 

While  we  are  thinking  about  this  matter  of  critical  evalua- 
tion, how  shall  we  account  for  the  great  plan  to  have  clean, 
socially  pure  pictures  for  the  public  and  for  the  schools,  while 
the  Opera  goes  on  with  its  besmirched  themes,  couched  in 
music,  accompanied  in  foreign  tongue,  admitting  of  murder  in 
social  situations  far  more  revolting  than  that  found  in  the 
Wild  West  picture  or  in  the  portrayal  of  the  modern  hold-up  : 
approval,  high  in  the  one  case,  degradation  bellowed  to  the 
skies  in  the  other.  We  have  a  problem  of  standards  involved 
in  appreciation. 


C.    M.    Koon,    The    International    CongrenK    of  Educational  Cinematog- 

raiihii,    EtUuation    (October  1934). 

Winston     Churchill,     Everybody's    Language,    Collier's     (October    26, 

1935). 


April,  19}  6 


Proceedinys  of  the  Department  of  Visual  Instruction  Meeting 


Page  107 


The  Jones  Rotary  System  of  Instruction 


By     ARTHUR     O.     BAKER 

Head   of  Science   Department 
John    Marshall    High    School,    Cleveland,    Ohio 


WITH  the  development  of  the  little  red  school  house 
on  the  hill,  the  teacher  in  charge  paved  the  way  for 
many  of  the  methods  in  education  which  are  still 
in  use.  It  was  assumed  that  he  was  a  highly  talented,  ver- 
satile, individual  capable  of  teaching  the  entire  curriculum — 
cnglish,  mathematics,  history,  agriculture  and  economics. 
Consequently,  with  little  or  no  time  for  preparation  this 
teacher  found  that  he  could,  if  skillful,  conduct  question 
and  answer  discussions  most  easily  and  still  maintain  reas- 
onable discipline  and  interest.  Later  we  learned  to  depart- 
mentalize our  work  and  to  train  teachers  to  teach  certain 
subjects.  However,  the  question,  answer,  discussion  method 
is  still   in  wide  usage. 

Then  came  the  dawn  of  the  motion  picture  upon  the  edu- 
cational horizon  and  now  comes  the  addition  of  the  human 
voice  to  visual  instruction.  These  are  wonderful  educational 
tools  capable  of  meeting  in  fifteen  minutes  the  s^me  edu- 
cational objectives  in  certain  instances  that  frequently 
required  days  of  patient  instruction  or  the  spending  of  many 
periods  in  the  laboratory.  For  example  the  two  Chicago- 
Erpi  sound  films — "Sound  Waves  and  their  Sources"  and 
"Fundamentals  of  Acoustics" — are  powerful  allies  of  in- 
struction in  the  principles  of  sound. 

The  big  problem  in  visual  education  today  is  to  teach 
teachers  to  use  such  materials  effectively  and  intelligently. 
Many  teachers  are  making  some  or  all  of  the  following 
mistakes  : 

1.  .-Xdherring  strictly  to  the  question,  answer,  discussion 
method. 

2.  Not  using  visual  materials  at  all,  or  insufficiently. 

3.  Not  correlating  the  use  of  films  definitely  with  assign- 
ments. 

For  example,  the  class  may  be  studying  "Dairying  with 
Milk  Products"  and  the  film  shown  to  them  may  be  on 
"Tuberculosis".  Such  indirect  correlations  are  not  very 
valuable. 

4.  The  showing  of  iiictures   for  mere  entertainment. 

5.  Failure  to  prepare  assignments  and  tests  based  defi- 
nitely  on  visual   materials  when  used. 

6.  Emphasizing  technical  processes  and  the  development 
of  scientific  skills  in  the  laboratory.  With  the  motion 
picture  as  an  ally,  work  in  the  laboratory  should  be- 
come less  technical  and  more  exploratory. 

*"Th€  Jones  Rotary  System  of  Instruction"  is  an  experi- 
mental procedure  being  used  in  science  and  history  in  sev- 
eral schools  in  Cleveland  with  a  view  to  developing  the 
techniques  involved  in  the  visual  route  to  education.  This 
system  seems  to  work  as  satisfactorily  in  history  as  in 
science.  Mr.  A.  Y.  King  has  been  working  on  this  project 
for  about  four  years,  first  inaugurating  it  in  the  John 
Adams  High  School  and  afterwards  in  the  John  Marshall 
High  School  as  head  of  the  social  science  departtiient.  In 
his  new  work  as  Director  of  the  Social  Studies  of  the  Junior 
and  Senior  High  Schools,  Mr.  King  is  engaged  in  develop- 
ing  further  centers   upon  this   plan. 

Criticisms  of  the  Regular  Mode  of  Classroom  Instruction 

1.  When  class  enrollments  average  thirty-five  pupils,  the 
class  recitation  period  usually  resolves  itself  into  a  lecture 
upon  the  part  of  the  teacher  or  a  discussion  period  in  which 
a  small  per  cent  of  the  class  participates. 

*So  named  because  of  the  experimental  procedures  directed  by  Dr.  R.  G. 
Jones,  Assistant  Superintendent  of  Schools,  Cleveland,  and  because  of 
the  fact  that  teacher  activity  rotates  with  pupil  activity. 


2.  If  the  lecture  method  is  pursued,  the  teacher  delivers 
twenty  to  thirty  lectures  per  week,  depending  upon  the 
number  of  class  periods  to  which  he  is  assigned ;  or  if  he 
proceeds  by  discussion  he  conducts  a  similar  number  of 
discussions.  If  a  teacher  has  six  classes  per  day  in  the 
same  subject,  he  probably  conducts  good  lectures  and  dis- 
cussions during  the  first  two  classes  of  the  morning  but 
these  forms  of  teaching  become  "pumping  and  drill  exer- 
cises" in  the  third,  fourth,  fifth  and  sixth  period  classes  in 
the  afternoon. 

3.  Lectures  and  discussions  when  thus  conducted  are 
exhausting  in  energy  and  inefficient  in  outcome.  Lectures 
are  valuable  when  they  are  well  prepared,  involve  demon- 
strations, and  are  delivered  at  a  maxiinum  of  efficiency  on 
the  part  of  the  instructor.  Discussions  are  valuable  when 
held  in  groups  sufficiently  small  in  size  that  all  members 
of  a  particular  group   participate. 

4.  Much  of  the  individual  pupil  activity  which  should  be 
an  integral  part  of  the  subject  is  eliminated  because  of  the 
large  size  of  the  groups. 

New   Classroom  Instruction   Goals 

1.  Visual  demonstrations  delivered  to  large  groups  at  a 
maximum  of  efficiency  on  the  part  of  the  instructor. 

2.  The  use  in  large  groups  of  lantern  slides,  silent,  and 
sound  films,  exhibit  and  demonstration  material  and  the 
microphone.     Thus   all   pupils  see  and  hear  effectively. 

3.  The  preparation  of  clarified  assignments,  and  modern 
tests. 

4.  The  preparation  of  such  correlated  work-sheet  exer- 
cises, based  upon  the  visual  aids  used,  that  lantern  slides 
and  films  become  agents  of  instruction  demanding  the  at- 
tention of  the  student.  Too  frequently  in  the  past  visual 
aids  have  been  used  in  classes  in  such  a  manner  as  to  result 
in  pure  entertainment. 

5.  Discussions  in  groups  of  such  a  small  size  that  all 
members  participate. 

6.  The  development  of  leaders  and  leadership  by  placing 
students  in  charge  of  small  groups  for  certain  activities. 

7.  The  establishment  of  teacher-pupil  contact. 

8.  The  inclusion  of  a  reasonable  amount  of  guided  study. 

9.  The  securing  of  such  individual  pupil  activities  as  the 
performing  of  experiments  and  projects. 

How  to  Install  the  Jones  Rotary  System  of 
Instruction 
1.  The  adoption  of  this  plan  should  not  mean  an  increase 
in  daily  pupil  load ;  nor  should  it  mean  an  increase  in  the 
number  of  scheduled  periods  required  per  teacher  per  week. 
Let  us  give  the  classroom  teacher  time  to  really  prepare  for 
his  work.     The  teacher  should  spend  his  free  periods : 

a.  Preparing  clarified   assignments 

b.  Preparing  inodern  tests 

c.  Designing  lantern  slides  to  correlate  with  the   lectures 

d.  Arranging  work  sheet  exercises  as  student  guides 
when  inotion  pictures  are  shown 

e.  Preparing  follow-up  tests  to  check  on  motion  pictures 

f.  Arranging  laboratory  exercises 

g.  Preparing  the   visual  demonstrations 
h.  Checking   results 

i.  Caring  for  equipment 

j.  Preparing  adequate  bibliographies  to  accompany 
weekly  assignments.  Besides  authors  and  books 
these  bibliographies  should  include   topics  and  pages 

k.  The  above   10  items  require  an   iiniiicnsc  ainouni  of  time 
if  they  are  well  done. 


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Proceedings  of  the  Department  of  I'isual  Instruction  Meeting    The  Educational  Screen 


2.  It  should  mean  the  setting  up  of  large  groups  (of  the 
already  existing  daily  pupil  load)  for  visual  demonstrations 
and  the  setting  up  of  small  groups  for  the  realization  of 
the   additional   goals   of  classroom   instruction. 

3.  Mechanical  equipment  needed: 

a.  A  large  room  in  which  visual  aids  can  be  used  in 
connection  with  the  demonstrations.  This  room 
should  be  equipped  with  a  microphone  and  loud- 
speaker. The  microphone  enables  all  students  to 
hear  effectively. 

b.  The  use  of  cellophane  lantern  slides  to  substitute  for 
many  of  the  diagrams  and  drawings  used  on  the 
classroom  blackboard.  These  enable  all  pupils  to 
see  effectively.  These  should  be  used  in  semi- 
darkness,   thereby  permitting  note  taking. 

c.  Apparatus,   wagon   with   ball-bearing   wheels 

d.  An  illuminated  portable  blackboard. 

The  Former  Schedule  of  a  Teacher  Teaching  Six 

Classes  per  Day  of  Tenth  Grade  Biology 

Teacher's  Daily  Load=210  pupils 

(Class  Average  of  35  x  6  Periods) 

Periods      123456789 


M      1 

35-B  1  35-B  1  35-B  | 

35-B  i  35-A    35-A  1 

T      1 

I  35-B  1  35-B  1  35-B  1 

35-B  1  35-A  1  35-A  i 

W     1 

1  35-B  1  35-B  i  35-B  ] 

35-B  1  3S-A  t  35-A  | 

Th 

i  35-B  I  35-B  i  35-B  | 

1  35-B  1  35-A  1  35-A  | 

F 

35-B  I  35-B  1  35-B 

■  35-B  '  35-A  '  3-.-A  ' 

Key- 


B=:10th  Grade  Beginners  in  Biology. 

A^lOth  Grade  .Advanced  to  Second  Semester  in  Biology. 

The  Same  Teacher's  Schedule  Under  the  Jones 
Rotary  System  of  Instruction 

Teacher's  Daily  Load^210  pupils 
1  2  3  45  6  7         8         9 

...     ,  25-A  \140-B  I  25-A  |  20-A  |  Teacher  i)repares 

T     I  ro-A  I  25-B  i  25-B  |  25-B  I  25-B  ^  20-B    20-B 


M 


W     I  25-A  \UO-B  I  25-A  |  20-A  |  Teacher  prepares 


Th    I  TO-A  I  25-B  I  25-B  |  25-B  j  25-B  |  I  20-B  I  20-B  i 

F     i  70- A  li*^^-/?  'Checking  of  tests  &  preparation  for  next  wk 


Advantages 

1.  Teaching  periods  cut  from  30  per  week  to  24 

2.  Teacher  has  time  to  prepare  his  work 

3.  Monotony'  is  avoided 

4.  Visual  instruction  used  effectively 

A  Pupil's  Schedule  Who  Reports  for  2nd  Period 
Visual  Demonstration  and  7th  Period  Conference 

1  _'  ,1  4  5  (I  7  8  9 


\is. 

M     j           ;   Dem.  |           1           j           |           !                I 

T 

1           ■                      i             Guided  \          \ 
'11'           'ReadingI          1 

i          1     Vis.              1          1          1          1               II 
W    1           1   Dem.  1           1                      1           1                II 

'              t          :                    :          1  Confer- 
Th    '          1              i          '          '          1          I   ence*   1 

1           ;Assign-!                      Ill                II 

F     1           |ment&!                                |           |                |          | 

1          1    Test    1          1                    11               II 

*Conference  period  may  l)e  spent  in  several  ways  depending  up- 
on the  judgment  of  the  teacher: 

1.  Laboratory  exercises 

2.  Discussion  period  for  the  group  of  20  to  2S  pupils 

3.  Drill  exercises 

4.  Conference  group  of  25  pupils  may  be  broken  up  into  5 
small  groups  with  5  pui)ils  each.  Group  leaders  may  be 
selected  by  the  teacher  and  one  may  be  placed  over 
each  group  to : 

a.  Review  the  assignment 

b.  Conduct  a  project  or  experiment 

c.  Hear  oral  reports 

d.  Conduct  review  drills 

e.  Conduct  a  discussion 

The  teacher  may  confer  individually  at  this  time  with  pupils 
who  are  failing  in  their  work. 

Advantages  of  the  Small  Conference  Group  of  25  Pupils 

1.  The  teacher  is  assured  that  in  the  course  of  a  week  each 
pupil  has  personally  read  a  minimum  of  one  period  in  pre- 
paring the  assignment. 

2.  Fewer  pieces  of  apparatus  required  because  of  the  small 
size  of  the  group. 

3.  Experiments  can  be  performed  more  individually. 

4.  -Ml  members  of  the  group  of  5  take  part  in  the  discussion 
because  of  the  small  size  of  the  group. 

5.  Pupils  may  examine  the  demonstration  material  closely 
which  was  used  during  the  lecture  periods. 


Visual    Aids    in    Remedidl    Reading 


READING  efficiency  is  modified  bv  both  central  and 
peripheral  factors.  Of  the  central  processes,  rate  of 
association  of  ideas  appears  to  be  one  of  the  most 
important.  Many  other  kindred  factors  such  as  background 
of  information,  ability  to  perceive  relationships,  memory 
span,  and  the  like  contribute  to  rapid  and  rhythmical  read- 
ing habits.  Indeed,  no  one  denies  the  importance  of  the 
role  played  by  the  central  process.  To  a  degree,  however, 
reading  efficiency  also  appears  to  be  related  to  certain 
peripheral  factors,  especially  those  which  contribute  to 
comfortable    vision. 

Within  the  last  five  years,  considerable  interest  has  been 
evidenced  regarding  the  study  of  anatomical  and  physiolog- 
ical aspects  of  vision  which  might  be  related  to  reading 
efficiency.  Three  problems  have  been  identified.  First,  what 
are  the  visual  requirements  for  reading  readiness?  Second, 
what  visual  disabilities  contribute  to  reading  deficiency? 
Third,  to  what  degree  does  individual  counterpoise  permit 
compensation    for   a   visual    disability? 

Attempts  to  study  the  visual  characteristics  of  retarded 
readers  have  been  through  case  studies,  comparisons  of  re- 
tarded  readers  with   unselected  groups,  and   comparisons   of 


By     EMMETT     ALBERT     BEITS 

Director    of    Teacher    Education, 
State    Normal    Schoof    Oswego,    New    York 

retarded  readers  with  "good"  readers.  Although  no  one 
questions  the  value  of  comfortable  one-  or  two-eyed  vision 
for  reading,  the  investigators  have  not  always  arrived  at 
clear  cut  findings.  The  supposed  disparity  in  the  results  may 
be    accounted    for   in   a   number   of   ways. 

First,  not  all  the  investigators  studied  cases  from  the  same 
age  levels.  At  the  primary  grade  level,  great  differences 
exist  among  children  relative  to  physical,  mental,  and 
emotional  readiness  for  reading.  For  example,  children  with 
I.  Q.'s  ranging  from  70  to  90  frequently  are  not  ready  to 
read  until  they  reach  a  chronological  age  of  eight  to  ten. 
Five  investigators  have  found  that  some  children  with 
normal  and  superior  intelligence  are  not  ready  to  read  until 
they  are  seven  to  seven  and  one-half  years  of  age.  The 
age  at  which  children  are  permitted  to  enter  first  grade 
would  be  a  significant  variable  in  studies  of  primary  chil- 
dren. It  is  at  once  apparent  that  in  such  instances  retarda- 
tion in  reading  might  not  be  caused  by  a  lack  of  matura- 
tion in  the  visual  functions  which  can  be  measured  by 
extant  techniques.  In  short,  such  cases  might  lack  readiness 
for  reading  of  a  nature  involving  other  specific  maturations. 
Intelligence  and  vision  are  not  the  only  factors  contributing 


April,  19}  6 


Pi-occcdiiigs  of  the  Department  of  Visual  Instruction  Meeting 


Page  109 


to  reading  readiness  and  reading  achievement. 

Second,  investigators  who  have  compared  "poor"  readers 
with  "good"  readers  have  not  ruled  out  poor  teaching. 
In  most  cases  of  children  brought  to  the  writer's  clinic, 
the  pupils  have  not  been  given  a  means  for  independent 
recogn'tion  of  words.  In  addition  to  this  handicap,  they 
are  usually  struggling  with  reading  materials  which  are 
several  levels  of  difficulty  above  them  ;  that  is,  it  is  common 
to  find  a  fifth  grade  boy,  who  has  second  grade  reading 
ability,  confused  with  the  vocabulary  and  sentence  struc- 
ture of  fourth  or  fifth  grade  books,  ["or  these  types  of 
cases  the  correction  of  visual  defects  would  give  visual 
comfort  but  would  not  teach  the  child  to  read.  A  good 
teacher  usually  makes  use  of  chart  material  which  mini- 
mizes the  effect  that  visual  inefficiency  might  have  upon 
reading    achievement. 

In  one  situation  the  writer  found  about  90%  of  the  re- 
tarded readers  to  have  some  type  of  visual  disability  which 
might  have  contributed  to  a  lack  of  ability  to  do  sustained 
reading.  In  another  situation,  where  children  were  per- 
mitted to  enter  first  grade  at  five  years  of  age  and  other 
conditions  were  also  questionable,  the  writers  found  only 
47%  of  the  severely  retarded  readers  to  have  visual  diffi- 
culties. In  brief,  no  one  maintains  that  visual  disabilities 
are  sole  causes  of  retardation  in  reading,  hence  investi- 
gators should  make  some  attempt  to  control  other  obvious 
contribiUing   factors. 

Third,  the  definition  of  a  retarded  reader  varies  from  one 
investigation  to  another.  Some  investigators  define  retarda- 
tion as  existing  when  the  pupil's  reading  age  is  below 
the  mental  age.  Others  have  studied  a  given  percentage  of 
those  who  scored  lowest  on  a  standardized  reading  test  or 
who  ranked  in  the  lower  half  of  the  class  on  the  basis  of 
teachers'  marks.  Still  others  have  studied  only  those  re- 
tarded readers  who  were  referred  to  a  clinic.  The  writer 
contends  that  retardation  in  reading  at  the  primary  grade 
level  would  be  a  different  problem  from  retardation  at 
higher  grade  levels  because  of  speed  of  reading  and  sus- 
tained reading  eflfort  are  not  of  major  importartce  at  the 
primary  grade  level.  In  other  words,  the  definition  of  read- 
ing disability  is  one  important  factor  in  an  investigation 
where    visual    handicaps    are   being    studied. 

Fourth,  the  methods  of  teaching  beginners  would  have 
an  important  bearing  on  the  relationship  of  visual  dis- 
abilities  to   retardation   in   the   primary    grades. 

Fifth,  methods  of  measuring"  visual  efificiency  also  modify 
the  results.  The  Snellen  chart  is  a  convenient  and  reliable 
device  for  measuring  distance  visual  acuity  of  each  eye 
while  the  other  eye  is  covered.  It  is  obvious,  however,  that 
such  a  test  would  be  a  very  inadequate  measure  in  a 
scientific  study  of  the  visual  disabilities  of  retarded  read- 
ers. The  "Visual  Sensation  and  Perception"  slides  of  the 
Celts  "Ready  to  Read"  battery  (4)  were  designed  to  detect 
visual  difficulties  which  might  contribute  to  discomfiture 
during  sustained  reading.  They,  however,  should  not  be 
used  as  a  substitute  for  a  thorough  examination  which 
specialists   sometimes  make. 

Sixth,  thorough  research  workers  who  have  studied  visual 
handicaps  in  relation  to  reading  have  noted  variations  in 
individual  counterpoise  to  compensate  for  physical  handi- 
caps. Some  cases  can  tolerate  high  errors  while  others  are 
hyper-sensitive  to  relatively  small  errors.  Furthermore,  the 
study  of  certain  items  has  not  been  fruitful  for  discriminat- 
ing between  good  and  poor  readers.  Undoubtedly,  general 
body  tone  has  considerable  to  do  with  capacity  for  com- 
pensation. 

There  are  few  who  would  deny  the  statement  that  all 
children  have  the  right  to  comfortable  vision:  Also  there 
is  more  or  less  general  agreement  among  students  of  the 
problem  that  comfortable  vision  is   important   for   sustained 


readin:>:  effort.  Wagner  (15)  reported  3.5%  of  the  children 
in  the  primary  grades  and  7.5%  of  the  children  in  the 
intermediate  grades  were  wearing  glasses.  In  Shaker 
Heights,  Ohio,  5%  of  the  children  in  the  first  grade  were 
found  to  be  wearing  corrections.  There  was  also  found 
a  gradual  increase  to  the  sixth  grade  where  47%  were 
wearing  corrections.  Most  of  the  evidence  points  to  the 
need  for  extended  and  more  thorough  studies,  of  visual  re- 
quirements  of   reading   in   the  early   grades. 

Twelve  investigators  have  studied  and  reported  numerous 
types  of  visual  defects  and  ocular  anomalies.  In  general, 
these  difficulties  can  be  classified  as  clearness  of  focus 
and    eye    coordination. 

1.  Visual  acuity.  This  means  the  sharpness  or  keenness 
of  vision.  Low  visual  acuity  may  be  caused  by  disuse  of 
an  eye  or  by  errors  in  the  focusing  media.  Occasionally  an 
eye  will  have  only  10%  visual  acuity  while  both  eyes  are 
seeing,  but  when  the  good  eye  is  covered  the  "poor"  one 
can  be  forced  to  function  at  a  100%  level.  Such  items  are 
crucial  when  considered  from  the  point  of  view  of  reading 
comfort.  For  visual  comfort  in  reading,  it  is  essential  that 
the  cases  with  above  normal  vision  be  studied  as  well  as 
those  at  and  below  normal.  A  second  factor  meriting  con- 
sideration is  the  difference  in  visual  acuity  between  the 
two  eyes  because  too  great  a  disparity  handicaps  the  co- 
ordinate  action   of   the   eyes. 

Wagner  found  the  chances  to  be  92  in  100  that  the  lower 
half  in  reading  are  more  likely  to  have  visual  acuity  below 
normal  than  the  upper  half  among  elementary  school 
children.  Swanson  and  Tiffin  (13),  at  the  University  of 
Iowa,  found  no  differences  in  visual  acuity  between  "good" 
readers  and  "poor"  readers  at  the  college  level. 

2.  Muscle  itnhalance. 

a.  Lateral  imbalance.  Normal  lateral  muscle 
balance  permits  the  visual  axes  of  the  eyes  to  be 
parallel  when  they  are  relaxed  or  used  for  distance 
seeing.  Frequently  a  farsighted  individual  will  overconverge 
and  a  nearsighted  individual  will  fail  to  converge  properly. 

It  is  important  to  distinguish  between  cases  with  tenden- 
cies toward  so  called  eye-muscle-imbalances  and  strabismus 
cases  which  are  "cross-eyed"  or  "wall-eyed".  Unless  the 
strabismus  case  is  "alternating",  which  may  cause  difficulty 
in  reading,  the  visual  acuity  in  the  deviating  eye  is  usually 
lowered  through  disuse  to  a  point  where  there  can  be  no 
discomfiture  arising  from  attempts  at  eye  coordination. 
In  either  instance  a  strabismus  case  does  not  experience 
binocular  (two-eyed)  vision  which  is  essential  to  depth 
perception. 

Lateral  imbalance  as  such  should  be  investigated  further 
before  definite  conclusions  are  made.  The  writer  has  found 
many  cases  with  lateral  imbalance  but  with  good  macular 
fusion.  It  is  important  that  the  ocular  reflexes  should  be 
normal;  that  is,  when  an  object  is  brought  from  distant 
point  up  to  reading  distance  the  eyes  should  converge. 
This  is  the  chief  use  of  the  lateral  imbalance  slide  of  the 
"Ready  to   Read"   set. 

b.  Vertical  imbalance.  .'\  condition  of  vertical  imbalance 
exists  when  one  eye  deviates  upward.  This  condition  occurs 
only  infrequently,  but  when  it  does,  efforts  at  sustained 
reading  are   seriously  hampered. 

3.  Macular  Fusion.  Normal  reading  or  seeing  of  fine 
detail  is  accomplished  by  one  small  part  of  the  retina 
called  the  macula,  the  most  highly  sensitive  area  of  the 
retina.  Both  the  right  and  left  eyes  have  macular  areas.  In 
order  to  fuse  two  images  into  one,  it  is  necessary  for  them 
to  fall  upon  corresponding  points  of  the  retina  of  each  eye ; 
that  is,  both  eyes  must  be  pointed  precisely  toward  the  object 
of  regard.  This  is  achieved  by  the  subject's  desire  for  a 
single  image  and  the  subsequent  reflex  action  incident  to 
seeing.    In    the    Betts    Ready   to    Read    Tests,   two   tests    of 


Page  110 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting    The  Educational  Screen 


macular    fusion    are    included,    one    for    distance,    the    other 
for   reading  distance,   eight   slides    for   each. 

In  reading  low  fusion  produces  confusions,  mixing  letters 
and  small  words,  jumbling  of  words,  loss  of  place,  and  some 
inability  to  follow  lines  across  the  page.  Its  presence  is 
not  detected  by  the  usual  school  vision  tests  and  it  presents 
no  obvious  symptoms  or  sign  that  the  teacher  may  detect. 
Eames  (9)  found  that  35%  of  children  with  educational 
difficulties  had  fusion  disabilities  as  compared  with  18% 
of  the  general  school  population.  The  data  shows  that  there 
is  a  rapid  decrease  in  macular  fusion  ability  for  each  suc- 
ceeding age  and  grade  level.  In  view  of  the  heavy  reading 
load  imposed  on  elementary  school  children  there  is  need 
for  further  study  of  the  problem,  for  a  school  program 
designed  to  oflf-set  this  tendency,  and  for  a  further  study 
of  size  of  type  used  in  printed  reading  materials. 

4.  Peripheral  Fusion:.  Experimental  tests  are  under  way 
but  conclusions  are  not  yet  available.  Preliminary  results 
are    promising. 

5.  Sterenpsis  (Depth  Perception).  True  depth  perception 
is  possible  only  when  the  eyes  are  functioning  coordinately 
and  when  there  is  a  desire  for  visual  fusion.  Certain 
aspects  of  eye  coordination,  therefore,  can  be  measured  by 
using  a  test  of  depth  perception  graduated  in  difficulty. 
Although  depth  perception  is  not  required  for  reading  on 
the  usual  flat  surface,  the  degree  of  coordination  required  to 
pass  such  a  test  is  essential  to  efficient  and  comfortable 
reading  habits.  It  was  found  that  only  60%  of  the  first 
grade  entrants  had  sufficient  eye  coordination  and  experience 
to  pass  this  test.  However,  children  improve  with  an  increase 
in  age  in  eye  coordination  required  to  pass  this  test.  There 
is  need  for  further  study  of  the  question  of  size  of  type 
when  reading  is  taught  before  children  are  seven  or  eight 
years  of  age.  In  the  meantime  it  would  appear  that  chart 
work  and  the  use  of  interesting  stereoscopic  pictures  would 
be  of  significant  value  in  grades  one  and  two. 

6.  Agility  of  fusion..  Facility  in  convergence  and  relaxa- 
tion of  convergence  is  usually  called  agility  of  fusion. 
Eames  found  that  the  mean  agility  of  fusion  convergence 
is  below  normal  among  reading  disability  cases.  He  also 
reported  a  greater  amplitude  of  fusion  for  larger  size 
type. 

7.  Focusing  Errors   (Ametropia) 

a.  Nearsightedness.  A  nearsighted  individual  has  difficulty 
in  distance  seein;i  It  is  usual  for  nearsighted  persons  to  be 
avid  readers  and  they  seldom  have  difficulties  unless  the 
disability  is  so  pronounced  that  the  print  cannot  be  seen 
at  normal  reading  distance.  It  is  important,  however,  that 
such  conditions  receive  the  attention  of  an  eye  specialist. 
Nearsightedness  is  an  infrequent  offender  in  poor  reading, 
but  the  complications  of  nearsightedness  are  important, 
and  hence  the  defect  should  always  be  watched  carefully 
and   treated   whetlier   there   is   a    reading   trouble   present   or 

not. 

b.  Farsightedness.  Farsightedness  is  usually  caused  by  a 
short  or  immature  eyeball.  Various  studies  have  showed 
that  from  45  to  80%  of  six  year  old  children  are  normally 
farsightcd.  There  is  a  gradual  decrease  in  farsightedness 
as  the  eye  matures.  By  age  9  only  about  18  to  20%  of  the 
children  are   farsighted. 

c.  Astigmatism.  Astigmatism  usually  is  a  matter  of  far- 
sightedness or  nearsightedness  in  one  or  two  meridians  of 
the  eye.  This  difficulty  may  cause  severe  strain  because  it 
is  not  possible  to  adjust  the  refractive  mechanism  of  the 
eye  so  that  the  conditions  can  be  relieved.  Severe  cases 
interfere  with  reading  by  distorting  the  visual  images  and  by 
the   production   of   eye   strain. 

8.  Differences  in  sice  and  shape  of  ocular  images  (Anisei- 
konia). 

Dearborn    and    Comfort    have    initiated    a    study    of    such 


errors  in  reading  disability  cases.  In  a  preliminary  report 
they  indicated  that  78%  of  the  clinic  cases  had  size  differ- 
ences of  significant  amounts.  They  tentatively  concluded  that 
it  is  not  primarily  a  matter  of  degree  of  defect,  but  the 
degree  of  counterpoise  of  the  individual  in  compensating 
for   the    defect    that   counts. 

Eye  training  exercises  with  special  stereographs  are  used 
widely  for  the  correction  of  eye  coordination  difficulties. 
It  is  possible,  therefore,  that  schools  might  endeavor  to 
present  some  of  these  difficulties  by  the  daily  use  of  inter- 
esting and  appropriate  stereographs,  especially  in  the  pri- 
mary grades.  In  addition  to  the  obvious  educational  benefits 
to  be  derived  from  this  important  use  of  visual  aids,  chil- 
dren can  profit  physically  by  the  incidental  exercises  and 
eye  recreations  which  aid  in  developing  and  maintaining 
the  coordinate  functioning  of  the  eyes. 

School  people,  of  course,  should  not  go  beyond  their 
professional  province  by  endeavoring  to  give  directed  eye 
training  exercises  in  the  school,  for  such  exercises  should 
be  prescribed  and  supervised  by  a  qualified  specialist. 
Nevertheless,  it  is  quite  proper  that  teachers  make  maxi- 
mum use  of  educational  materials  which  are  hygienically 
correct.  The  use  of  stereographs  for  building  educational 
backgrounds  is  endorsed  by  thousands  of  educators.  Pri- 
mary teachers  use  them  to  bring  meanings  to  words: 
geography  teachers  use  them  to  bring  distant  lands  into  the 
classroom.  Their  hygienic  value  in  addition  to  these  educa- 
tional values  now  has  the  endorsement  of  outstanding 
doctors. 

Bibliography 

1.  Belts,  Enimett  Albert,  BibUouraphy  on  the  rroblems  Krialid  to  the 
Analyns,  Prerention,  and  Correction  of  Reading  DifficuUiee.  Mead- 
ville,  Pa.     Keystone  View  Comijany,  Revised  1936. 

2.  Betts,  Emmett  Albert,  Is  ReadiiW  Related  to  Grovlh?  Progres.sive 
Education,   (Dec.  1934)   Vol.  XI,  No.  8. 

3.  Betts,  Emmett  Albert.  A  Physiological  Approach  to  the  Aiialynis  of 
Reading  Disabilities.  Educational  Research  Bulletin,  Ohio  Etate 
University,    (Sept.  1934)   Vol.  XIII,  Nos.  6  and  7. 

4.  Betts,  Emmett  Albert,  Prevention  and  Correction  of  Reading  Diffi- 
culties.    Rowe,  Peterson  &  Company,  1936. 

5.  Betts,  Emmett  Albert,  Prevention  and  Correction  of  Reading  Dis- 
abilities. The  Elementary  English  Review,  Vol.  XII,  No.  2,  (Feb. 
1935)    pp.   25-32. 

6.  Betts,  Emmett  Albert,  Reading  Disabilities  and  Their  Correction. 
Third  Annual  Research  Bulletin  of  National  Conference  on  Re- 
search in  Elementary  School  Engli.sh.  Published  by  Elementary 
English  Review,    Detroit,    Michigan,    1935. 

7.  Farris,  L.  P.,  Visual  Defects  as  Factors  Influencing  Achievement 
ill  Reading.  Junior-Senior  High  School  Clearing  House,  Vol.  IX, 
No.  4,    (Dec.  1934)   pp.  226-228. 

8.  Fendrick,  Paul,  A  Sttldy  of  the  Visual  Characteristics  of  Poor 
Readers.  Ph.  D.  Dissertation,  Teachers  College,  Columbia  Univer- 
sity,  1935. 

9.  Eames,  Thomas  Harrison,  A  Frequency  Study  of  Physical  Handi- 
caps in  Reading  Disability  and  Vnselected  Groups.  Journal  of 
Educational  Research,  Vol.  XXIX,  No.  1,    (Sept.  1935)  pp.  1-5. 

10.  Eames,  Thomas  Harrison,  Improcement  in  School  Eye  Testing. 
Education,  Vol.  56,  No.  1,   (Sept.  1935)  pp.  14-17. 

11.  Monroe,  Marion,  Children  Who  Cannot  Read.  Chicago:  Univer- 
sity of  Chicago  Press,  1932. 

12.  Srlzer,  Charles  A.,  Lateral  Dominance  and  Visual  Fusion,  their 
Application  to  Difficulties  in  Reading,  Writing,  Spelling  and  Speech. 
Cambridge,  Mass.,  Harvard  University  Press,  1933.  p.  119. 
(Harvard  Monographs  in  Education,  No.  12). 

13.  Swanson,  Donald  E.,  and  Tiffin,  Joseph,  Belts'  Physiological  Ap- 
proach to  the  Analysis  of  Reading  Disabilities  as  Applied  to  the 
College  Level.      (To  be  published.) 

14.  Terman,  Lewis  M.,  and  Almack,  John  C,  The  Ilygiene  of  the 
School  Child.     New  York   City:   Houghton   Mifflin   Company,    1929. 

15.  Wagner,  Guy  W.,  The  Saturation  of  Certain  Visual  Functions  and 
their  Relationship  to  Success  in  Reading  and  Arithmetic.  Ph.  D. 
Dissertation,  University  of  Iowa,   1935. 

16.  Wells,  David  W.,  The  Stereoscope  in  Ophlhalmology.  E.  F.  Mahady 
Company,   Boston,   1928. 

17.  Witty,  Paul  A.,  and  Kopel,  David,  Ilelerophoria  and  Reading  Dis- 
ability.    (To  be  published.) 


April,  19}  6 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  111 


A  Symposium  on  Sound  and  Silent  Films  in  Teaching 


PROFESSOR  Frank  N.  Freeman,  School  of  Education 
of  the  University  of  Chicago,  presided.  After  brief 
remarks  on  the  nature  and  purpose  of  the  session, 
Professor  Freeman  announced  the  showing  of  four  reels  of 
teaching  films  —  two  in  sound  ("Sound  Waves  and  their 
Sources",  and  "Volcanoes  in  Action".  Chicago-Erpi)  and 
two  silent  ("London",  Eastman  Teaching  Films,  and  "Re- 
production in  Plants  and  Lower  Animals",  Bell  and  Howell), 
.^ftcr  the  showing.  Mr.  J.  E.  Hansen,  Chief,  Bureau  of 
Visual  Instruction,  Extension  Division,  University  of  Wis- 
consin, was  introduced  as  first  speaker,  discussing  primarily 
the  silent  film   in  teaching. 

The    Silent   Film    in   Teaching 

By  J.  E.  HANSEN 

THE  notion  is  generally  held,  I  believe,  that  in  all  school 
work  there  should  be  a  maximum  of  child  activity,  that 
the  situations  should  not  be  prcdigested  for  the  pupils, 
that  the  teacher's  work  is  to  present  concrete  materials  or 
situations  to  the  pupils  as  materials  for  investigation  and 
examination.  Most  of  us  accept  the  notion,  I  believe,  that 
pictorial  and  other  concrete  materials  should  be  so  pre- 
sented that  they  will  cause  pupils  to  think,  to  form  habits  of 
critical  examination  and  evaluation.. 

If  this  notion  should  prevail,  then  it  would  seem  that 
there  should  be  a  minimum  of  ready-made  verbal  explana- 
tion given  with  the  film  presentation.  In  fact,  it  would  seem 
that  the  film  had  better  be  presented  without  any  verbal 
explanation  and  that  pupils  be  required  to  translate  the  pic- 
torial descriptions  into  verbal  form  and  that  generalizations 
be  arrived  at  under  the  guidance  of  the  teacher.  In  field 
work  and  in  the  school  laboratory,  it  isn't  considered  good 
practice,  I  believe,  to  have  all  specimens  labeled  and  to  have 
the  teacher  present  the  pupils  with  ready-made  explanations 
of  all  the  processes,  relationships,  or  problems  that  the  child 
meets  with.  If  this  were  done,  the  greatest  value  of  labora- 
tory and  field  work  would  probably  be  lost.  .\niX  yet,  in  the 
present  talking  films  we  find  verbal  explanations  for  every- 
thing that  takes  place.  Every  question  that  might  be  raised 
in  the  child's  mind  is  answered,  although  not  necessarily 
in  a  manner  that  suits  the  capabilities  and  the  previous 
experience  of  the  pupils. 

The  body  of  men  and  women  comprising  the  International 
Congress  of  Educational  and  Instructional  Cinematography 
held  in  Rome  in  April  1934,  recognized  this  whole  problem 
and  they  adopted  resolutions  regarding  it.  (See  quotation 
of  two  extracts  from  their  report,  page  106  of  this  issue.) 

In  addition  to  this  general  problem  of  presenting  the 
film  materials  in  a  manner  that  is  pedagogically  sound  there 
are  a  number  of  questions  which  it  seems  to  me  will  have 
to  be  answered  before  we  can  come  to  a  conclusion  as  to 
whether  the  talking  picture  should  supersede  the  silent  film 
for  educational  purposes.  I  shall  raise  several  of  these 
questions,  without  any  attempt  to  answer  them : 

1.  What  part  should  the  motion  picture  play  in  the  edu- 
cational set-up?  Should  it  be  employed  generally  to  pre- 
sent the  materials  of  instruction,  that  is,  the  content  of  the 
course  as  the  textbook  is  now  used,  or  should  it  be  used 
merely  as  a  means  of  illustrating  and  vitalizing  the  ma- 
terials of  the  written  text?  If  the  former  practice  is  to 
prevail,  then  we  are  faced  with  the  problem  of  replacing 
our  present  textbooks  with  something  in  the  nature  of  out- 
lines,  or   guides   with   reference   lists    or   bibliographies.     If 


this  practice  is  to  prevail,  then  it  is  conceivable  that  the 
talking  picture  might  play  a  large  part.  This,  however,  will 
depend  largely  upon  the  answer  to  my  next  question : 

2.  If  the  motion  picture  method  of  presentation  becomes 
basic,  will  the  tendency  be  to  present  the  pictorial  material 
to  large  groups  in  the  auditoriums  or  other  large  rooms 
suited  to  the  purpose,  or  will  it  be  presented  to  small  groups 
such  as  the  traditional  class  of  from  twenty  to  forty  or 
fifty  pupils?  If  the  presentation  is  to  be  to  large  groups, 
the  sound  picture  might  be  preferable.  If  the  present  class 
organization  is  to  prevail.  I  believe  the  silent  film  is  to 
be  preferred. 

3.  Then  there  is  the  problem  of  adapting  the  materials 
of  instruction  to  the  pupils'  capabilities  and  previous  train- 
ing. We  shall  probably  have  to  agree  that  the  silent  film 
with  a  minimum  of  verbal  accompaniment  will  lend  itself 
best  to  such  adaptation,  especially  if  in  the  hands  of  a 
skilled  teacher. 

4.  Another  important  question  is  that  of  the  length  of 
film  which  is  most  effective  for  classroom  presentation. 
Should  we  have  more  films  of  short  lengths  covering,  per- 
haps, single  operations,  or  details  of  a  larger  whole?  For 
example,  might  the  Eastman  film  on  the  gasoline  engine 
be  used  more  effectively  if  it  were  divided  into  shorter  sec- 
tions, each  showing,  for  example,  the  operation  of  parts 
such  as  the  carburetor,  the  ignition  system,  the  cooling  sys- 
tem, and  so  on.  Although  the  followers  of  Gestalt  would 
probably  say  that  we  should  present  the  whole  picture  first 
and  then  the  details.  My  question  is,  that  as  our  whole 
school  set-up  is,  at  present,  might  we  not  very  profitably  use 
many  short  film  subiects  of  25,  50  or  100  foot  lengths 
to  present  details,  and  in  presentations  such  as  these,  would 
not  the  silent  film  be  more  effective  as  well  as  more  con- 
venient to  use? 

Possibly  it  is  not  a  question,  then,  of  whether  the  fixed 
spoken  accompaniment  of  the  talking  film  is  superior  to  the 
more  flexible  and  informal  presentation  which  is  possible 
with  the  silent  film,  but  rather  that  of  finding  the  proper 
place  for  each. 

5.  There  are  one  or  two  questions  of  an  immediate  and 
very  practical  nature  which,  I  believe,  we  should  raise  at 
this  time,  and  they  are  those  of  cost  and  availability  of 
equipment  and  ease  of  operation.  The  availability  of  sound 
films,  although  it  should  receive  consideration,  would  prob- 
ably be  taken  care  of  by  producers  if  there  was  a  market 
for  their  product.  The  cost  of  sound  projection  equipment 
is,  at  present,  more  than  three  times  that  of  silent  equip- 
ment, and  the  cost  of  equipping  a  school  system  with  sound 
equipment,  if  it  is  to  be  available  for  use  in  every  classroom, 
would  be  almost  prohibitive.  The  ratio  of  sound  film  cost 
to  that  of  silent  film  cost  would  be  equally  as  great  and 
probably  greater  if  the  shorter  life  of  the  sound  film  is 
taken  into  consideration.  We  are  all  agreed.  I  am  sure, 
with  the  possible  exception  of  certain  commercial  film  dis- 
tributors, that  films  to  be  most  effective,  should  be  shown 
at  the  moment  when  needed  in  the  learning  situation. 
When  the  use  of  motion  pictures  involves  the  lugging  around 
from  room  to  room,  and  the  setting  up  and  operating  of  a 
sound  projector,  there  is  good  reason  to  believe  that  pictures 
will  be  used  sparingly  and  also  that  they  will  not  be  used 
at  the  moment  when  actually  needed. 

Before  presenting  the  results  of  a  study  which  I  made  in 
Wisconsin,  I  should  like  to  draw  a  distinction  between  what 
I  term  the  bona  fide,  or  natural  sound  picture,  and  the 
silent  picture,  accompanied  by  a  formal  lecture.  There  are 
many  situations   in  which   sound   is  an  .essential  element   in 


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Proceedings  of  the  Department  of  Visual  Instruction  Meeting    The  Educational  Screen 


the  situation  to  be  presented.  For  the  presentation  of  all 
such  situations,  the  sound  picture  has  a  distinct  advan- 
tage and  is  certainly  desirable.  But,  of  all  the  so-called 
sound  pictures  produced  to  date,  but  a  limited  few  belong 
to  this  class.  Most  are  in  the  class  of  the  talking  picture, 
that  is,  the  silent  picture  accompanied  by  an  oral  verbal 
continuity.  Regardless  of  whether  this  kind  of  presentation 
is  sound  pedat/ogically,  or  psychologically,  I  have  been  in- 
terested in  determining  whether  the  classroom  teacher  might 
not  present  this  verbal  aecompaniment  zinth  the  film  as 
effectively  as  the  machine  could  do  it.  I  have  realized  from 
the  outset  that  both  of  these  methods  might  have  certain 
advantages  as  well  as  disadvantages.  In  the  first  place,  the 
personality  of  the  teacher  might  either  add  to  or  detract 
from  the  teacher  presentation.  The  teacher's  voice,  his  pro- 
nunciation and  enunciation,  might  be  poor  compared  with 
that  coming  from  the  loud  speaker.  The  syncronization  of 
the  verbal  explanation  given  by  the  teacher  with  the  picture 
would  probably  not  be  as  perfect  as  that  of  the  sound  pro- 
jector, and,  if  presented  in  a  large  room,  the  volume  of  the 
teacher's  voice  might  not  be  sufficient  to  be  heard  distinctly 
by  all  the  pupils  in  the  room.  This  study,  the  set-up  and 
results  of  which  I  shall  now  summarize  briefly,  is  but  one 
of  several  related  studies  which  I  hope  to  complete  during 
the  next  year  or  two. 

In  this  particular  study,  I  used  four  talking  films,  namely. 
Plant  Growth,  Fungus  Plants,  Spiders,  and  The  Frog,  all 
excellent  films  produced  by  Erpi.  The  studies  were  con- 
ducted in  the  seventh  and  eighth  grade  elementary  science 
classes  of  the  Roosevelt  Junior  High  School  at  Fond  du  Lac 
and  in  the  tenth  grade  biology  class  of  the  Senior  High 
School  at  Edgerton,  Wisconsin.  At  Fond  du  Lac,  the  con- 
trol group  and  the  experimental  group  consisted  each  of 
approximately  160  pupils  equated  by  matching  in  pairs 
according  to  I.  Q.  M.  A.,  and  scores  on  a  pretest  cov- 
ering the  materials  presented  in  the  films.  Each  of  the 
four  topics  was  reallv  presented  as  a  separate  study,  and 
after  each  film  topic  had  been  presented  the  groups  were 
rotated  so  that  each  of  the  two  student  groups  had  two  of 
the  topics  presented  by  the  teacher  method  and  the  other  two 
topics  by  the  sound  projector  method.  There  happened 
to  be  four  elementary  science  teachers  in  this  school  and 
each  teacher  presented  the  verbal  continuity  for  one  of  the 
four  films,  as  against  the  talking  of  the  sound  projector. 
To  make  certain  that  the  verbal  continuity  presented  with 
the  film  by  the  teachers  was  identical  with  that  presented 
by  the  sound  projector,  I  had  previously  recorded  the  sound 
from  the  film,  in  each  case,  on  a  dictaphone  and  had  it 
transcribed.  The  typed  copies  of  these  continuities  were 
placed  in  the  hands  of  the  respective  teachers  about  twenty- 
four  hours  before  they  were  to  present  them  with  the  films. 
Since  in  Fond  du  Lac  the  films  were  presented  to  these 
large  classes  of  approximately  160  pupils  it  was  necessary 
to  use  the  auditorium,  which  had  a  seating  capacity  of 
about  1200  pupils. 

I  used  the  same  test  for  the  final  test  as  I  used  for  the  pre- 
test. I  realize  that  some  of  you  might  question  this  practice, 
but  I  believe  there  is  a  distinct  advantage  in  doing  this,  inas- 
much as  it  serves  to  further  equalize  the  control  and  experi- 
mental groups.  The  test  consisted  of  twenty  separate  multiple 
choice  questions  of  five  items  each,  all,  or  none,  or  any  of 
which  might  be  correct.  So  that  the  test  really  might  be  said 
to  consist  of  100  separate  items.  The  pre-test  was  given 
twenty-four  hours  before  the  film  was  presented  in  each  case 
and  the  final  test  was  given  within  an  hour  after  the  film  had 
been  presented. 

The  reliability  of  each  of  the  four  tests  when  given  as  pre- 
tests, was  determined  by  split-test  or  half-test  correlations 
and  corrected  by  the  Spearman-Brown  formula.    These    coeffi- 


cients for  the  four  tests  were  .86,  .937.  .963.  .824.  The  reliability 
coefficients  of  these  same  tests,  when  given  as  final  tests  were 
.89,  .937,  .89,  .90.  This  would  indicate  that  the  tests  were  quite 
reliable.  As  to  the  validity  of  the  tests  about  all  that  I  can  say 
is  that  they  covered  practically  every  item  covered  in  the  verbal 
continuity  and  that  great  care  was  exercised  to  make  certain 
that  nothing  was  included  which  was  not  included  in  the  verbal 
continuity.  Since  the  pictorial  presentation  was  identical  for 
the  control  and  the  experimental  groups  I  was  interested,  of 
course,  only  in  measuring  the  effectiveness  of  the  two  methods 
of  verbal  presentation. 

(At  this  point  the  speaker  projected  slides  showing  com- 
plete tabulations  of  the  results  of  the  experiment,  and 
went  over  them  carefully  with  the  audience.  On  the  whole 
there  appeared  to  be  no  significant  difference  in  the  gains 
made  by  the  two  groups,  the  ones  hearing  the  sound  film 
and  the  ones  to  whom  the  same  verbal  continuity  was 
spoken  by  the  teacher  present.) 

My  own  interpretation  of  those  results  would  be  that  it  has 
significance,  even  though  there  was  shown  little  advantage  of 
one  method  over  the  other.  There  were  several  little  side- 
lights which  I  should  like  to  mention.  This  particular  junior 
high  school  with  an  enrollment  of  about  120J  pupils  and  a  staff 
of  about  60  teachers  had  used  silent  films  regularly  in  their 
classroom  teaching  work  over  a  period  of  years.  Some  800 
or  1000  reels  of  motion  pictures  each  year  were  used,  and  used 
as  teaching  films  ought  to  be  used.  The  sound  film  was  a 
novelty.  The  youngsters  resented  somewhat  being  put  into  the 
teacher  group.  Again,  I  noticed  that  some  of  the  pupils  seated 
far  back  had  difficulty  in  hearing  the  teacher.  They  com- 
plained about  it  to  me  afterward.  They  asked  to  have  their 
papers  thrown  out.  I  said,  "No,"  and  all  of  the  papers  were 
scored. 

Although  the  pupils  favored  the  sound  method,  I  think  be- 
cause of  its  novelty,  the  teachers  came  to  me  afterward  and 
said,  "Mr.  Hansen  we  resent  being  a.t^ked  to  present  a  set  paper 
in  this  manner  when  we  have  been  presenting  pictures  to  the 
school  here  for  years."  Every  one  agreed  that  that  was  not 
sound  educational  practice.  Said  one,  "You  can  come  back 
and  put  on  another  study  in  which  we  may  be  allowed  to  use 
these  films  in  our  classes  as  we  feel  they  ought  to  be  used." 
That  was  the  attitude  of  the  teachers. 

I  hope  that  within  the  next  year  a  further  study  may  he 
made.  We  are  interested  in  knowing  whether  in  presenting  a 
picture  of  this  type  the  teacher  who  knows  her  pupils,  and  is 
known  by  the  pupils,  will  continue  to  do  that  job  as  well  as 
the  mechanical  device  called  the  sound  projector.  Is  there 
something  magic  about  that  canned  voice,  that  mechanical  voice, 
coming  out  of  the  sound  projector,  which  would  make  it  better 
than  the  teacher  who  knows  the  pupils  and  stands  before  them 
for  questions  and  answers? 

I  don't  pretend  I  have  the  answer.  I  do  feel  that  perhaps 
after  we  have  had  a  number  of  further  studies  of  this  kind 
we  may  say  with  some  degree  of  confidence  that  we  do  know. 
On  the  other  hand,  I  for  one  am  not  satisfied  that  that  is  good 
teaching  technique,  and  I  doubt  if  you  can  get  one  educator 
out  of  ten  in  the  United  States  who  will  allow  a  teacher  to 
continue  teaching  in  the  classroom  if  she  presented  her  ma- 
terial in  the  classroom  as  it  was  presented  by  these  teachers 
with  that  film.  Do  we  want  our  problems  presented  to  the 
pupils  with  all  the  answers  given? 

We  didn't  find  any  questions  raised  later  that  weren't 
answered  by  that  verbal  continuity.  Do  we  want  that?  Is 
that  good  educational  procedure?  I  have  no  quarrel  at  all 
with  the  splendid  group  of  films  that  are  produced  at  the  Uni- 
versity of  Chicago  for  adults.  They  could  not  be  any  poorer 
than  the  average  university  lecture.  I  think  they  are  a  great 
irriprovement  over  that.     For  the  purpose  for  which  they  are 


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Proceedings  of  the  Department  of  Visual  luslriiction  Meeting 


Page  113 


^^^C' 

V 


(iroduced,  I  think  they  are  fine.  Now  the  question  is :  Do  we 
wish  to  take  that  method  and  put  it  into  our  elementary  schools 
particularly  ?  Possibly  we  might  use  it  in  cur  upper  high 
schools. 

I  feel,  as  was  so  admirably  stated  by  Dr.  McCIusky  yester- 
day, that  the  teachers  and  school  supervisors  should  be  the 
doctors  in  this  case.  I  have  no  malice  whatever  toward  the 
manufacturers  of  sound  eeiuipment  or  the  producers.  They 
have  all  been  my  friends  up  to  now  and  I  hope  they  will  con- 
tinue to  be.  but  I  honestly  feel  that  it  is  time  we  should  raise 
the  issue  as  to  whether  the  type  of  material  we  are  going  to 
use  is  to  be  determined  by  the  teachers  or  by  the  mar.ufacturers. 
1  doi.bt  that  the  medical  profession  allows  the  manufacturers 
of  drugs  to  decide  what  should  go  into  pre.icriptians  for  their 
patients. 

I  hope  I  have  caused  enough  controversy  here  to  get  soine 

cussion.     .     .     .       (Applause) 

'hairman  Fireman  :  The  only  question,  I  am  sure.  Mr.  Han- 
«?n,  is  whether  anybody  will  get  apoplexy  trying  to  hold  back 
before  the  time  for  discussion  to  begin.  But  if  you  will  just 
hold  yourselves  in  check  for  a  few  minutes  more  we  will  have 
a  discussion  of  the  sound  picture  by  Mr.  C.  F.  Hoban,  Jr.,  of 
the  State  Tcacliers  College  at  Clarion,  Pennsylvania. 

The   Place    and   Values   of 
Sound    Pictures    in   Teaching 

By  CHARLES  F.  HOBAN,  JR. 

iEFORE  presenting  the  values  of  the  sound  motion  picture 
in  teaching,  it  is  necessary  to  state  certain  assumptions 
upon  which  these  values  rest  and  upon  which  the  issue 
:his  discussion  may  be  defined. 
Assumptions 
In  the  first  place,  we  must  assume  that  values  of  motion 
ures  in  teaching  have  been  demonstrated  both  experi- 
mentally and  experientially — otherwise,  the  vital  issue  would 
be :  why  use  motion  pictures  at  all  ?  Over  fifty  separate  ex- 
perimental studies  of  the  effectiveness  of  the  film  in  school 
instruction  have  been  reported  in  the  educational  literature  of 
England  and  the  United  States  since  1917.  Within  these  fifty 
major  studies,   some  two  hundred   separate  experiments   have 

«  conducted.  In  addition  to  the  objective  data  on  motion 
ire  values  derived  in  these  experimental  studies,  a  large 
ber  of  other  values  have  been  reported  by  the  teachers 
partaking  in  the  Consitti  investigation,  conducted  in  England 
and  the  Wood  and  Freeman2  investigation  conducted  in  this 
country.  In  both  these  studies,  the  judgments  of  teachers  using 
classroom  films  supplemented  the  data  gathered  from  objective 
measures  of  learning.  It  is  worth  noting  that  the  values  of 
films,  reported  on  the  basis  of  teachers'  judgments  in  widely 
differing  geographical  areas  and  under  widely  differing 
conditions  of  teaching,  were  in  high  agreement  and 
that  these  values  far  exceeded  those  measured  by  objective 
tests  in  the  two  experiments.  On  the  basis  of  data  reported 
in  experimental  studies  and  on  the  basis  of  judgments  of  teach- 
ers who  have  used  films  as  an  integral  part  of  the  instruc- 
tional procedure,  the  first  assumption  must  be  acknowledged 
as  valid. 

2.  In  the  second  place,  we  may  assume  that  whatever  values 
are  inherent  in  the  silent  motion  picture  as  a  medium  of  instruc- 
tion are  also  inherent  in  the  sound  picture.  To  avoid  dispute 
of  this   assumption,   and   to   define   the   sound   picture,   a    few 

1  Frances  Consitt,  The  Talue.  of  Films  in  Hiiilory  leaching,  G.  Bell 
and  Sons,   Ltd.,   London,   1931. 

2  Ben  D.  Wood  and  Frank  N".  Frefman.  Motion  Pictures  in  the 
Classroom,  Houghton  Mifflin  Company,  New  York,   1929. 


words  of  explanation  may  be  necessary.  In  both  sound  and 
silent  motion  pictures  a  series  of  still  pictures  is  projected  on 
a  screen  at  such  a  velocity  that  the  audience  experiences  these 
rapidly  projected  still  pictures  not  as  so  many  different  pictures 
but  as  the  continuous  experience  of  motion.  The  production 
of  this  phenomenon,  i.  c,  the  experience  of  motion  from  rapidly 
projected  still  pictures,  is  what  distinguishes  the  motion  pic- 
ture from  the  penny  arcade.  The  difference  between  sound  and 
silent  motion  pictures,  then,  is  either  the  addition  of  the  element 
of  relevant  sound  to  the  visual  experience  of  motion,  or  the 
addition  of  spoken  verbal  comment  to  the  visual  content  of 
the  film.  The  silent  picture  omits  all  sou;id  from  the  experi- 
ence of  the  audience,  and  supplies  verbal  accompaniment  by 
means  of  a  series  of  printed  titles.  In  both  sound  and  silent 
motion  pictures  there  is  generally  verbal  accompaniment — in 
the  case  of  the  former,  the  accompaniment  is  spoken ;  in  the 
case  of  the  latter,  it  is  printed.  To  this  verbal  accompaniment 
the  sound  film  adds  sound  where  this  additional  sensory  ex- 
perience heightens  the  realism  of  the  content  of  the  film.  The 
only  difference  between  sound  and  silent  pictures,  then,  is  the 
manner  of  verbal  accompaniment  and  the  presence  or  absence 
of  other  relevant  sotmd.  Whatever  teaching  values  reside  in 
the  silent  picture  must,  therefore,  reside  in  the  sound  picture. 

3.  In  the  third  place,  we  may  assume  that  the  place  of  sound 
pictures  in  teaching  is  strongly  determined  by  the  v;\lues  inher- 
efit  in  this  type  of  instructional  motion  picture.  If  sound  pic- 
tures are  better  than  other  visual  aids  for  pupils  of  low  mental 
ability,  then  they  should  be  used  with  these  groups.  If  they 
are  better  adapted  to  teaching  those  subjects  in  which  sound 
is  a  major  element,  then  they  should  be  used  in  such  subjects 
as  dramatic  literature,  foreign  languages,  music,  etc.  In  other 
words,  the  place  of  sound  motion  pictures  cannot  be  considered 
in  vacuo  but  must  be  considered  in  relation  to  particular  su- 
periority inhering  in  their  construction. 

4.  Finally,  if  the  first  three  assumptions  are  valid,  it  follows 
that  the  basic  question  for  discussion  is  the  respects  in  which 
the  sound  picture  is  superior  to  the  silent  picture  as  a  medium 
of  instruction.  The  remainder  of  this  paper  will  be  devoted 
to  a  statement  of  types  of  sound  pictures,  a  consideration  of 
the  validity  of  objections  to  sound  pictures  in  teaching,  an 
exposition  of  the  values  particularly  inhering  in  the  sound  pic- 
ture, and  the  statement  of  the  place  of  sound  pictures  in  teach- 
ing in  the  light  of  these  values. 

Types  of  Sound  Pictures 

There  are  three  easily  distinguishable  types  of  .sound  pic- 
tures. The  first  type  adds  oral  explanation  of  the  visual  con- 
tent of  the  film;  the  second  type  includes  only  those  sounds 
inherent  in  the  content  of  the  film,  such  as  dialogue,  the  whir 
of  a  motor,  the  roar  of  a  volcano,  etc. ;  and  the  third  type  is 
a  combination  of  the  other  two  in  which  there  are  oral  explana- 
tion and  the  addition  of  those  inherent  sound  effects  which 
enhance  meaning  of  the  visual  experience.  In  educational 
sound  pictures,  the  first  and  third  types  are  most  generally 
used. 

Validity  of  Objections  to   Sound   Pictures   in   Teaching 

To  the  use  of  sound  pictures  in  teaching,  certain  objections 
are  raised.  In  order  properly  to  evaluate  the  sound  picture  as 
a  teaching  aid,  it  is  necessary  to  examine  those  objections  and 
to  test  their  validity. 

1.  One  of  the  most  commonly  expressed  objections  to  the 
use  of  sound  pictures  is  the  initial  cost  of  sound  equipment. 
While  it  is  true  that  sound  equipment  is  more  expensive  than 
corresponding  silent  equipment,  it  is  also  true  that  this  initial 
increase  in  cost  has  its  compensation  in  the  increased  values 
and  in  the  increased  utility  of  the  sound  picture  and  projection 
apparatus.3     It  is  here  proper  to  point  out  two  compensatory 


3  For  discussion  of  values  and  utility  of  sound  equipment  see  treat- 
ment of   inherent  values   of   ^ound  film   in  teaching  infra. 


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Proceedings  of  the  Department  of  Visual  Instruction  Meeting    The  Educational  Screen 


aspects  of  increased  sound  equipment  cost,  (a)  In  addition  to 
sound  projection,  the  sound  equipment  serves  all  the  purposes 
of  silent  equipment.  Silent  pictures  can  be  projected  on  most 
sound  apparatus  but  the  converse  is  not  true.  In  other  words, 
sound  equipment  serves  the  dual  purpose  of  sound  and  silent 
projection,  (b)  Sound  equipment  has  a  much  wider  range  of 
utility  in  subject-matter  areas  in  that  many  of  the  subjects  of 
the  present  day  curriculum  involve  sound  as  a  primary  element. 

2.  Another  objection  raised  to  the  use  of  the  sound  picture  is 
the  complexity  of  operation  of  projection  apparatus.  This  ob- 
jection falls  by  its  own  weight  when  we  consider  that  (a)  both 
silent  and  sound  equipment  require  special  training  on  the  part 
of  the  teacher  for  operation;  (b)  no  more  technical  knowledge 
is  required  for  projection  and  care  of  sound  than  of  silent  pic- 
ture equipment;  (c)  teachers  who  have  been  given  instruction 
in  operation  techniques  experience  no  difficulty  in  operation ; 
and  (d)  in  many  schools  where  sound  equipment  is  used,  older 
students  have  been  trained  successfully  to  take  care  of  sound 
picture  projection. 

3.  The  third  objection  occasionally  raised  to  sound  pictures 
is  their  inflexibility.  Some  critics  believe  that  the  constant 
spoken  comment  supplied  by  the  sound  film  makes  the  sound 
picture  less  adaptable  to  use  on  various  grade  levels  and  mental 
ability  levels  than  is  the  silent  picture  which  permits  of  indi- 
vidual spoken  comment  by  the  particular  teacher  in  the  par- 
ticular situation.  As  a  matter  of  fact,  there  is  no  guarantee 
within  the  silent  picture  that  the  teacher  will  make  either  oral 
comment  in  general  or  adapted  comment  in  particular.  I  re- 
member it  was  the  practice  in  Cleveland  for  the  teachers  to 
set  up  their  equipment  and  walk  out  of  the  room  while  the 
film  was  being  projected.  Furthermore,  from  another  point 
of  view,  the  sound  picture  is  actually  highly  flexible  in  that 
the  verbal  accompaniment  is  spoken,  and  thus  the  factor  of 
pupil  reading  difficulty  is  eliminated.  Finally,  if  school  ad- 
ministrators come  to  the  point  where  they  demand  real  pro- 
vision for  differences  in  abilities  of  pupils,  it  is  an  easy  matter 
to  have  producers  issue  different  editions  of  the  same  film  with 
verbal  accompaniment  adapted  to  these  levels. 

Those  are  three  objections.  The  other  objections  that  Mr. 
Hansen  stated  is  that  verbal  accompaniment  interferes 
with  observation,  and  apparently  it  was  Mr.  Hansen's 
thought  that  the  picture  itself  does  too  much  thinking  for 
the  pupil. 

I  leave  that  to  you.  You  have  observed  both  silent  and 
sound  pictures  today  and  that  is  a  matter  for  you  partic- 
ularly to  decide.  That  is  a  matter  of  judgment  to  which 
I  have  no  answer.  So  far  as  the  experiment  reported  is 
concerned,  I  want  to  call  your  attention  to  the  fact  that  the 
only  thing  that  was  measured  on  that  experiment  was  the 
quality  of  the  voice,  the  recognition  of  verbal  responses  on 
a  test.  That  was  the  only  thing  that  was  measured,  the 
effect  of  voice  quality. 

Inherent  Values  of  Sound  Pictures  in  Teaching 
Having   disposed   of   the   objections    to   sound   pictures    in 
teaching,  we   may  now  consider  the  real   issue  of  this  dis- 
cussion, i.  e.,  what  values  in  teaching  inhere  only  in  sound 
pictures? 
There  are  si.x  such  values. 

1.  The  inclusion  of  sound  provides  the  closest  approach 
to  subjective  reality  in  the  experience  of  pupils  of  any  pic- 
torial media  of  instruction.  Many  educators  make  the  mis- 
take of  believing  that  if  scenes  are  accurately  and  authen- 
tically portrayed  in  the  objective  sense  of  accuracy  and 
authenticity,  the  experience  derived  from  the  visual  per- 
ception of  these  scenes  will  be  subjectively  real  to  the 
child.  One  of  the  great  advantages  of  the  sound  picture 
in  teaching  is  that  it  succeeds  in  making  things  seem  real 
to  the  pupils.  In  many  respects,  however,  the  silent  picture 
fails  to  achieve  this   sense  of  reality.     Consitt  reports  that 


in  a  silent  motion  picture  on  Roman  Britain,  "a  Druid  in 
long  robes  speaks  from  the  top  of  an  altar  of  so  strange  a 
shape  that  it  is  confused  with  a  tiny  hut,  and  a  girl  of  11 
writes,  'I  saw  a  straw  hut  that  they  built  and  there  was 
a  lady  on  top  of  it.'  At  least  25  per  cent  of  the  children 
who  saw  the  same  film  .  .  .  thought  that  the  British 
women  watched  the  battles  from  behind  some  kind  of 
fencing,  not  from  carts.  Such  mistakes  arise  from  avoid- 
able weaknesses  in  the  films."''  In  the  cases  of  the  Druid 
-  priest,  the  Druid  altar,  and  the  carts  of  the  Britons,  the 
scenes  were  objectively  real  in  that  they  accurately  and  au- 
thentically reproduced  the  objective  elements  of  the  real  or 
quasi-real  situation.  However,  in  the  experience  of  the 
pupils,  derived  from  the  visual  perception  of  these  scenes, 
they  were  unreal  in  the  sense  that  what  the  pupils  saw 
was  not  actually  what  was  represented  on  the  screen.  The 
addition  of  the  rumble  of  cart  wheels,  the  casual  reference 
in  dialogue  to  the  carts  or  to  the  altar,  and  the  spoken 
prayer  of  the  Druid  priest  would  have  provided  the  elements 
necessary  to  make  the  carts,  and  the  altar,  and  the  priest 
seem  real  to  the  pupils.  In  other  words,  the  addition  of 
sound  would  have  made  the  film  used  by  Consitt  a  much 
more  effective  instrument  of  instruction  both  in  provision 
of  richness  of  meaning  and  a  prevention  of  wrong  experi- 
ence. It  is  but  axiomatic  to  add  that  the  more  real  the 
learning  situation  is  to  the  child  the  more  effective  will  be 
the  learning. 

2.  Ttie  use  of  sound  in  instructional  motion  pictures  pro- 
vides the  auditory  element  absolutely  essential  in  a  number  oj 
subjects  in  the  present  day  curriculum,  to  which  the  other 
pictorial  media  of  instruction  are  not  adapted.  The  use  of 
sound  pictures  in  music  instruction  will  illustrate  this 
value.  There  are  sound  films  available  for  use  in  teaching 
the  composition  of  a  symphony  orchestra  and  the  various 
effects  achieved  by  the  instrumental  choirs.  It  is  one  thing 
to  show  a  picture  of  these  instruments  but  quite  another 
thing  to  develop  in  the  minds  of  pupils  the  appreciation  of 
tone  qualities  and  other  effects  produced  by  these  instru- 
ments, either  in  solo  rendition  or  in  ensemble.  Only  through 
the  addition  of  sound  effects  can  this  understanding  and 
appreciation  be  developed.  For  example,  in  the  wood  wind 
choir,  the  clarinet  and  the  English  horn  are  similar  in 
form,  but  the  great  difference  in  tone  qualities  and  the 
adaptability  of  these  instruments  to  the  creation  of  partic- 
ular music  meanings  can.  only  be  understood  when  the  audi- 
ence hears  the  clarinet  and  hears  the  English  horn.  Sim- 
ilarly, the  piccolo  and  the  flute  apparently  differ  only  in 
size,  but  the  music  of  the  one  is  a  piping,  virile  whistle, 
while  that  of  the  other  is  the  rich  and  mellow  coloratura 
of  the  wood  wind  choir. 

In  other  subject  matter  areas  as  well  as  in  music  is  the 
addition  of  inherent  sound  essential  to  the  attainment  of 
educational  objectives.  Nowhere  is  this  more  true  than  in 
the  field  of  dramatic  English.  In  drama,  delineation  of 
character,  interaction  of  personalities  and  events,  and  de- 
velopment of  plot  are  functions  of  dialogue.  The  speaking 
and  acting  of  the  characters  are  what  differentiate  the 
drama  from  the  novel.  The  manner  of  speaking  as  well  as 
what  is  said  is  essential  in  dramatic  production.  It  was  not 
the  words,  or  sentences,  or  paragraphs  of  Lincoln's  Gettys- 
burg address  that  hushed  the  saloon  in  Ruggles  of  Red  Gap 
so  much  as  the  manner  of  their  delivery  by  Charles  Laugh- 
ton.  So  effective  was  this  delivery  that  Laughton's  imper- 
sonation was  broadcast  to  the  English  speaking  world 
from  London  on  February  12th  of  this  year. 

In  the  field  of  current  events,  sound  is  essential  to  a 
development  of  meaning  of  the  events  portrayed.  It  is  no 
longer  sufficient  to  project  the  president  mouthing  inaudible 


4  Consitt,  op.  cit.,  p.  197. 


ipril,  1936 


Proceedings  of  the  Department  of  Visual  Instruction  Meeting 


Page  115 


souikU  on  a  screen.  Present  day  children,  nurtured  in  the 
commercial  movie  houses  which  show  sound  pictures  ex- 
clusively, expect  to  hear  the  voices  of  great  men  whose  pic- 
tures are  flashed  on  the  screen.  The  fact  of  this  expected 
sound  accompaniment  is  substantiated  in  the  data  of  a 
recent  investigation  of  verbal  accompaniment  to  motion 
pictures  in  which  Wfstfall  found  a  five  to  one  preference 
amon^  school  children   for  sound  pictures.5 

If  motion  pictures  are  to  be  used  at  all  in  the  teaching 
of  foreign  languages,  the  sound  picture  must  be  used  inas- 

fuch  as  the  spoken  language  is  a  highly  essential  element 
!  foreign  language  study. 
Finally,  in  the  field  of  teacher  training  the  sound  picture 
has  made  a  significant  contribution.  In  a  recent  experiment, 
reported  by  Eads  and  Stover,^  the  sound  picture  showing 
Professor  Buswell  illustrating  three  diagnostic  techniques 
in  arithmetic  was  reported  to  be  relatively  more  effective 
in  asi)€Cts  measured  than  a  similar  classroom  demonstration 
of  the   same  techniques   by   Professor  Goodwin  Watson,   of 

«;achers  College,  Columbia  University.  Upon  casual  con- 
leration  of  this  study,  one  might  conclude  that  Professor 
atson  was  losing  his  dynamic  personality.  More  thought- 
ful analysis  of  this  experiment  would  indicate  that  the 
subtle  influences  of  both  the  total  psychological  situation  of 
sound  picture  projection  and  the  visual  and  auditory  pres- 
ence of  and  explanation  by  a  recognized  authority  in  the 
field  accounted  for  this  difference.  The  point  is  that  Profes- 
sor Buswell  does  not  come  in  person  to  every  college 
campus  with  his  elaborate  experimental  equipment,  but  he 
is  available  vicariously  through  the  sound  picture  to  thou- 
sands of  colleges  and  teacher  groups  at  the  same  time. 

Summarizing  the  discussion  of  this  value  of  the  sound 
picture  in  teaching,  we  may  say  that  sound  is  essential  in 
a  number  of  subjects  of  the  present  day  curriculum,  and 
that  the  sound  picture  not  only  furnishes  this  essential  ele- 
ment, but  also  furnishes  leading  authorities  in  various  fields 
I    vicariously  to  any  given  student  group. 

3.  The  soutid  picture  is  particularly  adapted  to  any  grade 
level  or  tow  ability  group  in  which  readim/  difficulty  is  an  ob- 
stacle to  learning  through  the  more  generally  used  media  of 
instruction.  Any  instructional  tool  which  requires  reading  of 
the  printed  word  is  not  a  help  but  a  hindrance  to  learning 
in  such  groups.  On  the  other  hand,  any  method  of  teaching 
which  supplies  this  verbal  instruction  in  a  way  that  is 
comprehensible  to  such  groups  removes  the  obstacle  which 
not  only  hinders  learning  but,  because  it  is  a  barrier  to 
normal  achievement,  makes  children  react  away  from  the 
total   school   situation. 

Westfall"  found  that  when  oral  forms  of  accompaniment 
were  used,  low  ability  pupils  came  nearer  to  keeping  up  with 
the  average  of  the  class  in  understanding  than  when  read- 
ing of  titles  was  required.  He  also  found  that  the  interest 
and  attitudes  of  these  pupils  seemed  noticeably  to  improve 
when  sound  pictures  were  used.  Without  language  any 
visual  aid  is  relatively  ineffective  in  school  instruction. 
When  only  printed  language  accompaniment  is  provided, 
motion  picture  use  is  restricted  to  the  upper  grades  and  to 
average  and  high  mental  ability  groups.  Seldom  have  mo- 
tion pictures  been  used  below  the  fourth  grade,  yet  the 
advent  of  the  sound  picture  makes  such  primary  grade 
utilization  possible.  The  sound  picture  thus  becomes  an 
instructional  tool  available  to  primary  grade  levels  and  to 
mentally  retarded  pupils   on   all  grade   levels. 


5  I.ton  C.  Westfall,  "A  Study  of  Verbal  Aecoinpaniments  to  Educa- 
tional Motion  Pictures,"  ('(intributions  to  Education,  No.  617,  Bureau 
of  Publications,  Teachers  College,  Columbia  University,  New  York,  1934, 

fl~naura  Krieger  Eads  and  Edgar  M.  Stover,  Talking  Pictures  in 
Teacher  Traininf/,  unpublislud  report  of  an  experiment  carried  on  with 
the  cooperation  of  Professor  Ralph  B.  Spence,  Professor  Goodwin  Wat- 
son, Dr.  Ina  Sartorius  and  Dr.  Margaret  Barker  of  Teachers  College, 
Columbia   University,    1932,    (ms). 

"  Westfall,  op.  cit.,  p.  .57. 


4.  The  sound  motion  picture  presents  oral  c.rplanation  with 
unvarying  accuracy  and  authenticity  of  detail  and  subject  mat- 
ter. In  sound  pictures,  the  verbal  explanation  is  composed  by 
subject  matter  specialists  in  collaboration  with  the  research 
staff  of  the  producers.  The  oral  explanation  in  all  other 
visual  aids  is  made  by  the  classroom  teachers,  who  are 
seldom  experts  in  the  subject  they  are  teaching.  With  the 
use  of  all  other  visual  aids  the  accuracy  and  authenticity 
of  oral  explanation  varies  with  the  ability  and  knowledge 
of  the  individual  teacher,  while,  with  the  use  of  the  sound 
picture,  this  very  important  factor  of  accuracy  and  authen- 
ticity is  held  constant.  This  value  is  particularly  important 
in  science  instruction  in  which  the  film  content  becomes 
hi.ghly  technical  in  character. 

5.  The  sound  picture  incorporates  careful  direction  of  pupil 
attention  and  learning  to  important  aspects  of  the  film  content 
as  it  is  being  projected.  Oral  accompaniment  to  a  sound  pic- 
ture is  not  merely  a  running  spoken  comment  tacked  on  a 
silent  film;  instead,  the  accompaniment  is  perfectly  inte- 
grated with  the  screen  presentation.  Great  care  is  given  in 
the  preparation  of  a  sound  film  to  make  the  sound  element 
a  perfect  complement  to  the  visual  material.  With  the  re- 
sponsibility of  such  direction  of  pupil  attention  and  learning 
resting  solely  on  the  teacher's  initiative,  many  of  the  im- 
portant and  significant  aspects  of  the  film  material  often 
escape  the  notice  of  pupils,  either  because  the  material 
seems  obvious  to  the  teacher  or  because  the  teacher  does 
not  recognize  its  significance. 

In  the  experiment,  they  kept  a  stenographic  record  of  all 
the  things  that  happened  in  the  classroom.  The  entire 
classroom  procedure  was  recorded  by  a  stenographer.  They 
analyzed  those  reports  and  they  found  no  evidence,  no  indi- 
cation that  they  did  notice  those  things  which  they  were 
supposed  to  learn.  Incidentally,  as  a  matter  of  fact,  they 
didn't  notice  them.     .     .     .     (Applause) 

It  is  only  too  true  that  pupils  often  see  in  an  instructional 
film  only  what  they  are  told  to  look  for.  The  direction  of 
attention  and  learning  is  the  most  important  single  function 
of  teaching.  With  the  use  of  the  sound  picture  in  teaching, 
such  direction  is  a  constituent  part  of  the  film  presentation. 

6.  The  sound  picture  demands  and  sustains  the  undivided 
attention  of  pupils.  It  may  be  remarked  parenthetically,  that 
the  values  of  the  sound  picture  enumerated  in  this  paper 
have  generally  not  been  measured  in  experimental  studies 
devoted  to  relative  values  of  various  visual  aids.  In  only 
one  experiment  was  this  factor  of  pupil  attention  isolated 
and  measured.  Clark*  compared  the  silent  picture,  the 
sound  picture,  and  the  demonstration  in  science  with  a  view 
to  determining  which  of  the  three  commanded  and  sus- 
tained attention  of  the  group  most  consistently.  He  meas- 
ured his  factor  of  sustained  attention  by  ringing  a  bell  and 
at  the  same  time  photographing  the  group  to  find  the  per- 
centage of  students  distracted.  He  found  with  the  sound 
films  81.7%,  with  the  silent  films  75.2%,  and  with  the  dem- 
onstrations 54.6%  of  the  students  maintained  attention  in 
the  presence  of  distracting  stimuli.  These  results  are  in 
agreeinent  with  a  logical  consideration  of  the  nature  of  the 
three  methods  of  presenting  material  in  the  classroom.  Ip 
this  attention-sustaining  aspect,  the  sound  picture  is  dis- 
inctly  superior  to  other  methods  of  visual   instruction. 

The  Place  of  Sound  Picures  in  Teaching' 

In  the  light  of  the  six  inherent  values  of  the  sound  pic- 
ture presented   above,   we   may    conclude    that    in     teaching 

8  Clarence  C.  Clark,  "Sound  Motion  Pictures  as  an  Aid  in  Classroom 
Teaching,"  unpublished  Ph.  D.  thesis.  School  of  Education,  New  York 
University.   1932. 

9  For  a  discussion  of  other  factors  which  condition  the  place  of 
particular  visual  aids  in  tt  aching  cf.  Charles  F.  Hoban,  .Tr.,  "Some 
Neglected  Factors  in  Visual  Instruction,"  Edi'C-Vtiox.al  Scrp:kx,  14: 
257-268,  271,    (November.   1935). 


Page  116 


Proceedings  of  flic  Depart iiieiit  of  risiial  lustruction  Meeting    The  Educational  Screen 


situations  to  which  the  us€  of  motion  pictures  is  particular!) 
adapted,  the  sound  picture  should  be  used  particularly  as 
follows  : 

1.  Where  close  approach  to  subjective  reality  in  the  learn- 
ing situation  is  essential  to  the  attainment  of  educational 
objectives ; 

2.  Where  sound  is  an  indispensable  element  of  the  subject 
of  instruction  ; 

3.  Where  pupils  experience  difiiculty  in  the  rcadnit; 
process ; 

4.  Where  teachers  are  inadequately  trained  in  subject 
matter; 

5.  Where  teachers  lack  or  fail  to  use  dynamic  directive 
ability  in  the  classroom; 

6.  Where  distractive  influences  are  prevalent,  or  where 
high  concentration  of  attention  is  essential  to  learning.  .  . 
.     (Applause) 

Chairman  Freetmin:  It  would  be  desirable  if  we  had  time 
to  ask  each  of  the  two  speakers  to  rebut  the  contentions 
of  the  other  speaker.  I  am  not  shutting  them  off  from 
discussion  but  I  think  we  shall  not  ask  them  to  take  a  defi- 
nite period  for  such  rebuttal. 

May  I,  in  just  a  moment,  seek  to  sum  up  the  agreement 
and  the  disagreement,  as  I  see  it,  between  the  two  speak- 
ers? I  understand  that  they  agree  that  there  are  certain 
types  of  problems  or  of  situations  in  which  sound  is  in- 
trinsic and  in  which  the  sound  motion  picture  is,  by  the 
very  nature  of  the  case,  superior  to  the  silent  picture. 

And  I  understand,  on  the  other  hand,  that  in  general, 
without  now  going  into  details  at  all,  they  are  not  in  entire 
agreement  as  to  whether  or  not  types  of  situations  or  prob- 
lems in  which  the  sound  is  not  intrinsic  can  best  be  pre- 
sented by  the  so-called  sound  or  lecture  motion  picture  or 
whether  they  can  be  presented  as  well  or  better  by  the 
silent  picture  with  accompaniment  of  oral  comment  by  the 
teacher. 

I  understand  that  they  differ  in  their  conception  of  the 
way  in  which  a  motion  picture  should  be  presented.  Mr. 
Hansen  believes  it  should  be  presented  in  such  a  way  as 
to  raise  questions  in  the  minds  of  pupils  and  not  answer 
them  at  the  time.  Rather,  Mr.  Hoban  believes  that  it  is 
best  to  continuously  direct  the  attention  of  the  pupils  toward 
the  film  while  it  is  being  presented  in  order  that  they  shall 
attend  to  its   most   significant   features. 

Glossing  over  many  details,  those  appear  to  me  to  be 
at  least  some  of  the  vital  points  of  difference.  May  we 
now  have  comments  or  questions  regarding  the  points  which 
I  have  mentioned,  or  any  points  which  have  been  raised,  or 
any  other  points  on  the  topic?  In  presenting  your  discus- 
sion, may  I  request  that  you  give  your  name  and  your  con- 
nection. If  you  are  in  public  school  education  or  any  type 
of  education,  say  where  you  are  and  what  your  connection 
is.  If  you  are  connected  with  a  commercial  firm,  will  you 
say  what  that  connection  is?  Our  program,  as  usual,  has 
run  somewhat  more  late  than  we  expected  and  our  time  for 
discussion  is  limited.  May  I  therefore  request  further  that 
you  make  your  comments  as  brief  and  as  pointed  as  pos- 
sible?    Is  there  any  discussion? 

Mr.  Russetl  T.  Crei/y  (University  of  Illi.iois)  Mr.  Cliair- 
man,  there  is  one  point  that  hasn't  been  mentioned  that  I 
should  like  to  make  that  seems  important  to  me  from  my 
standpoint  of  interest  in  teacher  training  and  improvement 
of  teachers  in  service.  It  seems  to  me  we  have  been  looking 
at  the  question  a  little  bit  narrowly.  We  have  been  think- 
ing in  terms  of  pupils  learning,  that  is,  in  terms  of  facts 
which  they  might  get  out  of  the  presentation  of  information 
included  in  the  spoken  lecture,  in  the  film  or  given  by  the 
teacher.  It  seems  to  me  we  ought  to  think  in  terms  of  some 
of  the  outcomes  of  education,  the  development  of  attitudes 


on  the  part  of  pupils,  their  methods  of  thinking  and  going 
at  problems. 

It  seems  to  me  also  that  when  we  think  of  these  outcomes 
the  teacher  must  necessarily  be  the  most  important  factor 
in  any  classroom  situation.  It  makes  no  difference  whether 
it  is  the  traditional  type  of  classroom  or  the  progressive 
type.  In  one  case  the  teacher  takes  a  different  role,  to  be 
sure,  but  in  either  case  it  sems  to  me  that  the  teacher  is 
the  most   important   factor. 

Therefore,  it  would  seem  very  important  to  give  the 
teacher  every  opportunity  to  improve  her  own  efficiency, 
and  that  seems  to  me  the  important  point  in  this  discussion 
of  the  relative  values  of  silent  and  sound  films.  The  sound 
film,  that  is,  where  the  lecture  merely  accompanies  what 
might  be  a  silent  film,  sort  of  puts  the  teacher  in  the  back- 
ground. The  teacher  doesn't  feel  the  responsibility  of  mak- 
ing the  same  kind  of  preparation.  He  doesn't  feel  the  same 
responsibility  in  leading  pupils  into  learning  situations  as 
he  would  feel  in  the  case  of  the  silent  film. 

.A.S  you  pointed  out,  Mr.  Chairman,  we  are  agreed  that 
there  are  certain  subjects  where  the  sound  is  essential  and 
if  it  can  be  presented  it  makes  the  situation  just  that  much 
more   real,  that   much  more  vital   to   the  pupil. 

Mr.  Dotpli  Lain  (Moline  Pul)lic  Schools,  Moline,  lil.nnis): 
We  have  had  quite  a  presentation  on  visual  education.  So 
far  I  haven't  made  up  my  mind  and  I  have  not  decided  om 
way  or  the  other,  for  sound  or  silent  pictures.  I  will  say 
that  we  went  through  all  these  changes.  We  changed  from 
slides  to  motion  pictures,  and  then  from  the  35mm.  to  16mm., 
and  now  we  seem  to  be  in  the  midst  of  a  battle  between 
sound  and  silent.  It  is  ridiculous  because  doubtless  there 
is  room  for  both  of  them.  I  will  say  that  we  are  going  to 
keep  our  department  open  for  any  progressive  move.  We 
have  been  keeping  sound  pictures  out  of  my  department  for 
at  least  five  years,  or  ever  since  I  came  out  there.  We  had 
some  difficulties. 

It  seems  to  me  what  Dr.  McClusky  said  yesterday  is  right, 
that  in  the  final  analysis  it  is  up  to  the  classroom  teacher. 
I  think  we  should  not  take  just  the  average  classroom 
teacher,  one  who  has  not  been  in  the  habit  of  using  such 
aids,  but  one  who  has  had  experience  in  using  such  aids. 
They  have  been  used,  as  I  say,  for  fifteen  years  in  our  high 
schools,  in  the  junior  high  school.  So  far  as  I  know  we 
haven't  had  any  other  e.xperience.  This  year,  beginning 
September,  we  bought  some  sound  equipment.  We  used  it 
to  a  slight  extent  the  first  semester,  and  are  using  it  quite 
a  lot  this  year  experimentally. 

So  far  as  the  reaction  of  these  teachers  is  concerned  (and 
they  are  excellent  teachers),  in  the  fields  of  biology,  physics, 
chemistry  and  history,  where  they  have  received  sound,  I 
would  say  they  have  taken  it  quite  enthusiastically.  They 
are  not  afraid  that  sound  is  going  to  usurp  their  positions, 
assume  their  prerogatives.  I  think  that  attitude  on  the  part 
of  the  teachers  is  to  be  lamented,  and  that  it  is  not  true  in 
most   cases. 

One  thing  I  never  had  brought  to  my  mind  quite  so 
forcefully  as  I  did  this  afternoon  in  witnessing  these  two 
pictures.  I  have  used  all  these  pictures  that  have  been 
shown  or  our  department  has  used  them.  I  never  had  fol- 
lowed one  right  after  the  other.  I  found  myself  resenting 
in  the  first  silent  picture  the  interruptions  of  the  titles.  I 
never  had  that  experience  before  and  I  have  sat  through 
thousands  of  films.  I  found  myself  eager  to  see  what  fol- 
lowed, and  then  my  attention  was  diverted  from  the  pic- 
turization  to  the  titles.  It  took  me  a  few  moments  to  get 
back  on  the  track  when  the  picure  reappeared  on  the  screen. 
I  think  if  that  had  been  explained  to  me  in  a  pleasant 
sounding   voice,   or   at   least   through   a   recording,   it   would 

(Concluded  on  />«(/<•  120) 


Page  117 


N 


ews  an 


d  Not 


es 


Vermont  State  Film  Library 

^ft  The  ])lan  under  which  the  Vermont  State  class- 
^■>oni  fihii  library  operates  is  similar  to  that  of  Illinois 
^pid  other  states.  A  school  can  become  a  member  of 
the  library,  which  is  maintained  by  the  Robert  Hull 
Fleming  Museum  at  the  University  of  Vermont,  by 
-the  contribution  of  a    sinele    16  mm    film    and    S5.00 

» posit.  This  entitles  the  school  to  withdraw  one  film 
week  from  the  library.   If  two  films  are  deposited, 
the  school  is  allowed  two  films  per  week.  The  films 

Kniain  the  property  of  the  school  contributing  them 
id  may  be  withdrawn  at  any  time.  When  the  initial 
deposit  of  $5.00,  which  covers  operating  expense,  car- 

tns  for  shipping  films,  labels  and  requisition  blanks, 
gone,  apjilication  for  a  similar  deposit  is  made  by 
the  library  and  an  accounting  of  previous  expenditures 
fcade  to  the  school. 

Cinema  Workshop  and  Appreciation  League 

t  During  the  past  summer  some  thirty  persons  inter- 
ted  in  the  teaching  of  motion-picture  appreciation 
id  experimentation  with  motion-picture  technics  felt 
e  need  for  an  organization  through  which  they  might 
lare  and  exchange  their  experiences  and  problems 
and  derive  source  material  for  appreciation  of  motion 
pictures.  As  a  result  of  this  need,  there  was  organized 
the  National  Cinema  Workshop  and  Appreciation 
League,  a  non-profit  and  non-partisan  organization 
under  the  auspices  of  The  American  Institute  of  Cine- 
matography,  Los  Angeles. 

The  objectives  of  this  group  are: 

1.  To  develop  appreciation  of  motion  pictures  and 
discriminating  taste  in  the  selection  of  entertainment 
pictures. 

2.  To  gain  knowledge  and  understanding  of  the 
technical  aspects  of  the  cinema  and  to  experiment  in 
this  unique  medium,  by  production  of  16mm  educa- 
tional and  entertainment  films. 

3.  To  recognize  and  utilize  constructively  the  in- 
fluence of  motion  pictures  upon  the  standards  of  liv- 
ing, interests,  ideals,  and  morals  of  children  and  adults. 

4.  To  recognize  and  utilize  the  educational  value 
of  certain  entertainment  pictures,  to  develop  the  every- 
day use  of  cinema  as  a  most  efifective  tool  in  modern 
education,  and  to  use  the  cinema  for  recording  edu' " 
tional  experiences. 

This  organization  is  the  outgrowth  of  the  worlr 
done  by  students  of  the  course,  "Social  and  Psycho- 
logical Aspects  of  Motion  Pictures,"  at  the  Universify 
of  Southern  California,  conducted  by  Dr.  Boris  V. 
Morkovin,  present  director  of  the  Cinema  Workshop. 
In  the  fall  of  1929  Dr.  Morkovin  organized  a  group 
for  experimentation  with  16mm.  camera,  which  later 
"•■>  assumed  the  name  "Cinema  Workshop." 


Conducted   by  JOSEPHINE  HOFFMAN 


Membership  in  this  League  is  open  to  any  one  in- 
terested in  furthering  its  objectives.  Members  are 
entitled  to  the  bulletins  isued  periodically  by  the  Na- 
tional Executive  Committee.  The  first  of  these  bulle- 
tins was  issued  in  December. 

Visual  Aids  Prominent  in  Exhibit 

The  second  annual  Catholic  press  exhibit  held  in 
Detroit  from  March  8th  to  15th  was  heralded  by 
prominent  educators  as  the  most  ambitious  and  largest 
gathering  of  its  kind  in  America,  reports  Mr.  A. 
J.  Norris  of  Michigan  Film  Library.  While  primarily 
designed  as  a  display  of  the  achievements  of  that 
church  in  the  printed  word  and  an  exposition  of  its 
publications  and  news  media  its  scope  was  extended 
to  take  in  every  phase  of  activity  in  the  line  of  secular 
education.  Elaborate  displays  in  the  various  fields  of 
education,  economics,  sociology',  charity,  liturg)'  and 
dramatics  were  presented. 

One  of  the  outstanding  divisions  of  the  exhibits  was 
the  motion  picture  showings  sponsored  jointly  by  the 
Ideal  Pictures  Corporation  of  Chicago  and  the  Michigan 
Film  Library  of  Detroit.  While  essentially  a  religious 
forum,  no  attempt  was  made  to  stress  that  type  of  film 
but  a  representative  selection  of  16mm  sound-on-film 
education  and  teaching  films  were  projected.  Four  dis- 
tinct programs  were  rotated  each  lasting  45  minutes.  In 
addition  to  the  "movie"  demonstration  a  program  of 
stillfilm  subjects  was  offered  consisting  of  geographic 
and  science  subjects  as  well  as  a  representative  show- 
ing of  Catholic  Liturgical  subjects.  A  special  lecture  on 
Art  by  Eugene  Paulus,  a  noted  critic,  was  accompanied 
by  slide  film  showings  on  Chinese  art. 

The  "Ten  Best"  1935  Films 

The  results  of  the  14th  annual  poll  conducted  by 
The  Film  Daily  among  the  leading  motion  picture 
critics  of  the  country  to  select  the  "Ten  Best  Pictures" 
of  1935  are  as  follows:  David  Copperfield  (MGM), 
The  Lives  of  a  Bengal  Lancer  (Paramoimt),  The  In- 
former (RKO),  Naughty  Marietta  (MGM),  Les 
Miserables  (U.A.),  Ruggles  of  Red  Gap  (Paramount). 
Top  Hat  (RKO),  Broadway  Melody  of  1936  (MGM), 
Roberta  (RKO),  and  Anna  Karenina  (MG^I). 

(Although  Mutiny  on  the  Bounty  and  A  Midsummer 
Night's  Dream  were  not  eligible  or  included  in  The 
Film  Daily's  ballot  because  they  had  not  been  gen- 
erally released  by  Oct.  31,  1935,  a  number  of  critics 
inadvertently  voted  for  these  films.  The  two  pictures 
in  question  will  be  included  in  the  next  poll,  which  will 
cover  the  year  from  Nov.  1,  1935,  to  Oct.  31,  1936.) 


Page  1 1 8 


The  Educational  Screen 


Among  the  Magazines  and  Books 


The  Journal  of  Education  (Feb.  17,  '36)  "The 
How  of  Visual  Education",  by  Byron  C.  Kirby. 

Schools  desiring  help  in  inaugurating  the  use  of 
visual  aids,  here  find  valuable  suggestions  as  to  pro- 
curing materials  and  using  them.  Definite  instructions 
are  given  as  to  the  various  ways  in  which  projected 
pictures  may  be  used  by  the  teacher  in  furthering  her 
development  of  subjects.  A  successful  plan  of  co- 
operation with  the  neighborhood  theater  is  described. 
"Visual  education  .  .  .  is,  if  properly  managed 
and  controlled,  a  most  important  aid  in  teaching;  if 
poorly  managed,  a  waste  of  time." 

"Sixteen  millimeter  sound  equipment  is  being  rap- 
idly adapted  to  classroom  use.  Sound  pictures  add 
interest  and  understanding;  they  aff'ord  not  only  a 
clear  view  of  the  subject  under  discussion,  but.  what 
is  just  as  important,  a  perfect  analysis  of  it  by  an  ex- 
pert. Sound  equipment  .  .  vitalizes  and  invigor- 
ates instruction.  The  above  is  not  meant  to  minimize 
the  importance  of  the  16  mm.  silent  films.  A  superior, 
well-informed  teacher  can  secure,  perhaps,  as  good, 
results  with  silent  equipment  as  it  is  possible  to  secure 
with  sound  equipment." 

Sight  and  Sound  (Winter.  '35-'36)  "Using  the 
Film  in  a  Secondary  School,"  by  Houghton. 

An  account  of  the  use  of  films  and  slides  in  the 
Liverpool  Collegiate  School  indicates  adverse  as  well 
as  successful  experimentation.  As  to  classroom  use, 
"It  was  obvious  that  the  films  did  stimulate  interest, 
particularly  among  the  duller  boys.  Several  of(  the 
films)  we  used  could,  with  advantage,  be  cut  into  three 
or  four  five  minute  reels.  .  .  Captions  were,  on  the 
whole,  too  long  and  diffuse.  Finally,  we  felt  that  much 
was  included  in  the  films  which  could  be  better  dealt 
with  in  the  laboratory  or  on  the  demonstration  bench. 
We  are  sure  that  there  will  be  no  wide  extension  of 
the  use  of  the  cinema  in  the  school  until  there  is  a 
great  increase  in  the  number  of  good  films  available." 
The  author  then  lists  the  conditions  which  good  films 
must    satisfy. 

"What  are  the  Essential  Characteristics  of  an  Edu- 
cational Film?"  by  Mrs.  Kaufmann.  The  view  is  pre- 
sented that  "educators  complain  of  the  lack  of  good 
film  material  very  frequently  because  the  film  content 
has  not  been  sufficiently  analyzed.  Most  of  our  motion 
pictures  are  produced  to  give  general  impressions,  and 
not  a  close  analysis.  They  are  usually  good  of  their 
kind,  and  may  be  styled  "excursive  films."  Gaining 
large,  general  impressions  is  a  necessary  step  in  learn- 
ing and  may  well  be  followed  by  the  deeper  details 
of  knowledge.  Films  of  the  latter  type  have  not  been 
extensively  produced.  They  may  be  called,  "incursive 


Conducted  by  STELLA  EVELYN  MYERS 


films."  "Excursive  and  Incursive  films  are  opposed 
in  their  particular  spheres.  The  Excursive  is  adven- 
turous and  exploratory,  and  it  is  appropriate  that  it 
should  be  largely  independent  of  the  detailed  curri- 
culum of  the  school  and  accepted  by  the  teacher  as 
an  external  contribution  to  school  work.  It  is  essential 
that  Incursives  should  interlock  closely  with  the  work 
of  the  class  and  should  be  selected  and  arranged  by 
the  teacher  at  his  will,  being  regarded  as  a  supply  of 
raw  material  which  the  teacher  assembles  with  his 
other  illustrations  and  aids  to  form  his  presentation  of 
the  subject. 

"Manchester  Educational  Experiment".  After 
months  of  experimentation  in  the  use  of  36  rental 
films,  60  free  films,  and  one  produced  by  the  Man- 
chester Education  Committee,  a  report  lias  been  made 
to  the  Manchester  Corporation.  The  concUi.'iions  as 
to  the  supply  of  films  are : 

"1.  That  there  should  be  an  adec^uate  supply  of 
films  specially  prepared  for  teaching  purposes.  2. 
That  there  should  be  a  central  library  of  films  for  each 
area.  3.  That  there  should  be  a  projection  room  so 
that  films  could  be  seen  before  being  borrowed.  .  . 
It  was  pointed  out  that  by  varying  the  method  of 
presentation  it  was  possible  to  use  most  films  for  a 
number  of  classes. 

The  general  conclusions  drawn  corroborated  the 
valuable  contribution  of  films  to  teaching. 

Journal  of  the  American  Association  of  Univer- 
sity Women  (January,  '36)  "Theater  Versus  Pic- 
tures," by  Theresa  Helburn,  Executive  Director  of 
the  Xew  York  Theatre  Guild. 

In  a  brilliant  analysis  and  most  entertaining 
article,  reporting  an  address  delivered  at  the  Bien- 
nial Convention  of  University  Women,  June  1935, 
it  is  maintained  that  it  is  becoming  more  and  more 
evident  that  the  stage  and  screen  are  two  very  dif- 
ferent arts  and  are  very  far  apart.  The  better  the 
script,  the  less  it  is  like  a  play,  the  one  being  an 
appeal  to  the  eye,  the  other  to  the  ear.  The  more 
the  script  writer  can  do  through  the  eye.  and  the 
less  he  has  to  do  through  the  ear.  the  better  the 
script  for  shooting.  The  requirements  for  an  actor 
are  also  very  different.  "Acting  in  films  is  largely  syn- 
thetic ;  in  the  theater  it  can  be  really  creative."  In 
the  theater  it  is  what  happens  between  two  people 
that  constitutes  the  art  of  acting, — that  creates  the 
mood.     Nine-tenths  of  the  art  of  acting  is  speech- 


Vpril,  1956 


I 

Hess.  The  theater  and  pictures  lend  themselves  to 
^very  different  materials.  Fantasy,  as  it  is  under- 
^■tood  in  the  theater,  is  quite  difficult  to  project  in 
pictures.  The  screen  is  forced  to  he  far  more  of  a 
jjheater  of  escape  than  the  theater,  itself.  "That  is 
teally  what  it  is  up  to  you  to  take  us  out  of."  Pho- 
lography  takes  us  into  a  very  realistic  realm,  quite 
the  contrary  to  Fantasy.  "There  is  no  arguing-  with 
photograph  of  something  which  is  a  photograph 
Jf  something.  That  sounds  absurd  and  like  Gert- 
ide  Stein,  l)ut  it  is  true."  A  shooting  script  often 
Seems  unconvincing,  yet  when  one  sees  it  on  the 
Jcreen,  jihotograpliically  correct  in  every  detail,  one 
convinced  that  it  is  true.  In  the  theater,  one  is 
joking  at  something  artificially  staged,  at  an  in- 
•rpretation. 

Again,  satire  is  something  presented  from  a  per- 
)nal  angle,  and  it  is  a  \ery  difficult  type  of  ma- 
•rial  to  use  in  pictures.     It  has  a  limited  intellec- 
lal  apijeal,  and  is  extremely  difficult  to  produce  for 
le  vast  audience.     "Pictures  are  still  and  may  al- 
rays  have  to  be  a  medium  for  story,  for  emotion, 
)r  pictorial  beauty.    They  have  not  yet  come  to  be 
medium  for  thought.    .    .    .    For  the  treatment  of 
ieas,  for  criticism  or  constructive  commentary  on 
life  in  terms  of  entertainment,  we  still  have  to  cling 
^to  the  theater." 

^H  If  we  limit  the  theater  to  what  will  make  good 
^Bictures,  or  limit  pictures  to  what  will  make  good 
^^tage  plays,  we  limit  the  art  of  each.  The  writer 
does  not  believe  that  politically  appointed  censors 
are  the  proper  ones  to  determine  the  criteria  for  ac- 
ceptable pictures.  "There  is  only  one  way  to  fight 
this  situation,  and  that  is  by  enlightened  public 
opinion  demanding  the  right  sort  of  freedom  of  ex- 
pression." The  rush  back  to  the  classics  is  an  es- 
cape. "I  believe  our  real  problem  for  our  young- 
people  in  a  medium  that  is  as  topical  and  real  as 
pictures,  is  to  be  able  to  present  today  and  present 
it  really  .  .  .  These  modern  versions  of  fairy 
stories  that  we  are  telling  our  young  people  today 
.  .  .  are  not  particularly  good  for  them.  Until  we 
can  treat  all  contemporary  themes  and  treat  them 
honestly,  we  will  never  have  a  medium  that  is  genu- 
inely educational  for  modern  young  people.  The 
producers  can  go  just  so  far,  but  the  audience  has 
to  go  further." 

National  Board  of  Revie-w  Magazine  (January, 
'36)  "The  Dance  in  the  Motion  Picture."  Reprint- 
ed at  length  from  the  article  in  New  York  Times, 
by  John  Martin,  Dance  Editor. 

The  dance  is  formed  of  the  continuous  substance 
of  movement,  as  music  is  formed  of  the  continuous 
substance  of  sound.  A  dancer  who  composes  for 
the  cinema  must  recognize  its  possibilities  and  its 
limitations.     "An   entirely  new  dance    form    must 

(Concluded  on  page  128) 


Page  119 


IHwnwn 
Projector  Bargain! 


VICTOR 

MODEL  lOFH 

Complete  wl+h   case 
Formerly  $  I  72.50 


Only 
$7500 


Projector  pracHcally  good  as  new.  Used  few  times 
only  as  dennonstrator.    Carries  factory   guarantee. 

Equipped  with  400-watt  bulb  (inter-changeable  with 
500-watt  bulb).  Will  give  excellent  service  in  class- 
roonn  or  sinnilar  work. 


ADDRESS: 


EDUCATIONAL  SCREEN 


Box  640 


64  E.  Lake  St.,  Chicago 


MOTION  PICTURES 
OF  THE  WORLD 


Motion  Pictvres  of  the  World 

AND   ITS   PhOPI.Is 


EDUCATIONAL  FILM 
DIRECTORY  "Shows  you 
just  what  pictures  are  avail- 
able on.  almost  every  conceiv- 
able subject  ...  A  verit- 
able film  library  of  the 
world's  culture  and  cus- 
toms." —  WORLD  PEACE 
FOUNDATION. 

ALL     TYPES     OF     FILMS 

2000  16mm,  35mm.  silent 
and  sound.  Films  for  rent 
and  for  free  distribution  are 

included. 

SELECTION  OF  SUBJECTS 

Films  are  selected  for  their 
valuable  educational  content. 
Our  original  judgment  is  re- 
checked  by  report  cards  from 
teachers  and  others. 

1936  INNOVATIONS 

GIVES  RENTAL  RATES  AND  SHIPPING  POINTS. 

The    only    directory    giving    available    rates    and 
shipping  points  for  each  film. 

LONGER  SYNOPSES.  Provides  the  longest  factual 
descriptions  to  be  found  in  any  general  film 
directory. 

NOW  PUBLISHED  TWICE  A  YEAR.  An  Invaluable 
feature  in  view  of  the  large  number  of  new  of- 
ferings and  withdrawals  of  old  films.  Annual 
subscription  of  35c  Includes  two  Issues  (3  sub- 
scriptions for  $  1 .00). 

INTERNATIONAL    EDUCATIONAL    PICTURES.    INC. 
40    Mount   Vernon   St.,    Boston,    Mass. 

for  subscriptions  to 


Sirs :    I  enclose 
film  directory. 

Name 


Address  , 


Page  120 


The  Educational  Screen 


The  Film  Estimates 


Broadway  Hostess  ( Win  i  Shaw,  Genevieve 
Tobin)(lst  Nat'l)  Mostly  about  a  torch  singer's 
ambition  and  love  affairs.  Rather  tawdry  ro- 
mance, with  crudely  impossible  social  situa- 
tions, and  some  highly  questionable  ethics.  Poor 
story  of  little  vaiUe  even  if  bettsr  acted.  Hero- 
ine's acting  decidedly  below  par.  3-24-36 
(A)  Waste  of  time                (Y)  No  (C)  No 

Colleen  (Ruby  Keeler,  Dick  Powell)  (Warner) 
Good-humored  nonsense  about  a  wealthy  nitwit, 
a  chocolate-dipper  and  a  dress  shop.  Slight  plot 
on  which  to  hang  a  few  tunes,  a  fashion 
show  and  some  spectacular  dancing,  in  the 
usual  style  of  this  company's  elaborate  mu- 
sicals. 3-31-36 
(A)  Fair  of  kind  (Y)  Passable  (C)  Little  interest 

Country  Doctor,  The  (Jean  Hersholt,  Dionne 
Quintupkts)  (Fox)  Imaginative  dramatization 
of  Dr.  Dafoe  s  life  and  work  as  obscure  prac- 
titioner raised  to  fame  by  keeping  quintuplets 
alive.  Some  cheap  touches,  highly  emotional 
moments,  and  brief  glimpses  of  the  babies  but 
mostly  a  very  human,  absorbing  picture.  3-24-36 
(A)  Good  (Y)  Very  good  (C)  Doubtful 

Don't  Gamble  with  Love  (Ann  Sothern.  Brucs 
Cabot)  (Columbia)  Hero  and  heroine  run  a  lux- 
uriously successful  gambling  house.  Worry  over 
child's  environment  separates  them,  until  wife 
must  return  to  save  husband's  casino  from 
rivals'  guns.  So  they  nobly  quit  game  and  go 
to  Europe  on  proceeds.  4-7-36 

(A)  Depends  on  taste         (Y)  (C)  Unwholesome 

Don't  Get  Persona!  (James  Dunne,  Sally 
Eilers)  (Univ.)  Another  "scrappy"  love  affair. 
Spitfire  daughter  of  Ohio  wealth,  failing  to 
make  good  in  New  York,  hires  flivver  and  serv- 
ices of  quick-tempered  co.kge-grad  hero  and 
pal  to  drive  her  "home".  Artificial  cross-coun- 
try farce,  funny  in  spots.  3-17-38 
(A)  Thin                    (Y)  Perhaps  (C)  No 

Drift  Fence  (Buster  Crabbe,  Katherine  D:? 
Mille)  tPara.)  Typical  Zane  Gray  western 
with  familiar  elements  of  wild  heroics,  very 
bad  villains,  much  shooting  and  very  casual 
killings,  fine  horsemanship,  excellent  scenery, 
and  "Crime  never  pays".  Hero  saves  ranch, 
wins  girl !  3-17-36 

(A)  Good  of  kind  (Y)  Perhaps  (C)  No 

Exclusive  Story  (FranchotTone,  MadgeEvans) 
(MGM)  Thrilling  account  of  how  young  lawyer 
and  reporter  crush  vicious  "numbers"  racket, 
with  aid  of  girl  whose  father  is  victim.  Calleia 
does  notable  villain  role.  Minimum  of  grue- 
some details  makes  this  one  of  better  /rime 
films-  3-31-36 

(A)   Exciting  (Y)   Very  exciting         (C)   No 

Garden  Murder  Case  (Edmund  Lowe)  (MGM) 
Stereotyped  murder  mystery  but  well-acted,  sus- 
penseful,  adequately  complex,  not  over-violent, 
with  pseudo- scientific  hypnotism  as  novelty. 
Philo  Vance,  infallible  as  always,  solves  three 
seemingly  accidental  deaths  as  murders,  and 
marries  heroine.  4-7-36 

(A)  Fair  (Y)  Good  of  kind  (C)  No 

Give  Us  This  Night   (Gladys  Swarthout,  Jan 

Kiepura)  (Para)  Musical  film  suffering  from  trite 
story  and  some  undistinguished  acting,  but  no- 
table for  the  fine  voices  of  two  stars  and  one 
amusing  characterization.  Kiepura  inclines 
too  much  to  mere  show-off  effects  with  high 
notes.  3-31-36 

(A)    (Y)   Fairly  good  (C)   Doubtful  interest 

Hell-Ship  Morgan  (Geo.  Bancroft,  Victor 
Jory.  Ann  Sotharn)  (Coumbia)  Violent  sea 
thriJ'er  about  tough,  two  -fisted  fishing-boat 
captain  whose  humane  impulses  get  him  a 
wife  and  handsome  friend.  Captain's  suicide 
solves  the  obvious  triangl:.  Much  faking  and 
news-reel  footage.  3-17-36 

(A)  No  value  (Y)  No  (C)  No 

Her  Master's  Voice  (E.  E.  Horton,  Laura 
Hope  Crews)  (Para.)  Very  light,  deft  farce- 
comedy  about  super  henpecked  man  who  strikes 
for  raise,  gets  fired,  works  for  trouble-making 
aunt  of  his  wife,  and  finally  arrives  as  radio 
crooner.  The  fun  isn't  spoiled  by  Horton'.s 
"singing".  3-24-36 

(A)  Laughable  (Y)  Very  good  (C)  Good 

Here  Comes  Trouble  ( Paul  Kelly,  Arlene 
Judge)  (Fox)  Rough-and-tumble  affair  about 
smart-aleck  sailor  hero  unwittingly  involved  in 
jewel  robbery,  two  gangs  of  crooks  for  good 
measure,  and  manicurist  heroine  for  "love  in- 
terest". Crude  "Grand  Hotel"  on  shipboard. 
Fists  and  wisecracks  fly  U^t  3-17-36 

(A)  Waste  of  time  (Y)  No  (C)  No 


Being  the   Combined  Judgments  of  a  National   Committee  on  Current  Theatrical   Films 

(The   Film   Estimates,  in  whole   or  in   part,   may   be   reprinted 

only   by   special    arrangement   with   The    Educational   Screen) 

Date    of    mailing    on    weekly    service    is    shown    on    each    film. 

(A)  Discriminating  Adults  (Y)  Youth  (C)  Children 


Last  of  the  Pagans  (Mala,  Lotus  Long,  Native 
cast)  (MGM)  Much  pictorial  charm  and  inter- 
est in  simple  love  story  of  South  Seas  hero  and 
heroine,  separated  when  ruthless  white  men 
force  hero  into  dread  phosphate  mines,  but 
final  reunion  is  won.  Native  dialog.  English 
titles.  3-31-36 

(A)  Good  (Y>   Good  (C)  Fairly  good 

Love  Before  Breakfast  (C.  Lombard,  P.  Fos- 
ter) (Univ)  Absurd  title,  plotless  play  of  one 
situation  endlessly  prolonged.  Glamorous,  blase 
heroine  loves  big-business  hero  but  fights  to 
conceal  it.  He  loves  her,  ignores  "fight'  and. 
when  film  is  long  enough,  marries  her. 
Smartly  done  persiflage.  4-7-36 

(A)Depends  on  taste        (Y)  Doubtful        (C)  No 

Man  Hunt  (Ricardo  Cortez,  Chic  Sales) 
(Warner,)  Old  country  sheriff  and  small-town 
newspaper  youth  outwit  government  men  and 
city  reporters  in  hunt  for  escaped  prisoner, 
who  traps  country  schoolteacher  into  aiding 
him.  Lively  action,  emphasizing  comic  side, 
with   plenty  of   "chase"   comedy.  3-24-36 

|A)  Fair  (Y)  Good  (C)  Fairly  good 

Mimi  (D.  Fairbanks  Jr.,  Gertrude  Lawrence) 
(Alliance)  Another  La  Boheme  adaptation. 
made  in  England,  elaborate  in  settings  and 
details  of  costume,  and  with  a  cast  of  high 
acting  ability.  But  some  dingy  photography. 
banal  dialogue,  poor  singing  and  a  certain 
amateurishness  defeat  it.  3-24-36 

(A)  Mediocre  (Y)  Hardly  (C)  No 

My  Marriage  (Clair?  Trevor)  (Fox)  A  young 
coup'e,  groping  for  happiness,  are  foiled  by 
husband's  cruel,  selfish,  scheming  mother, 
finely  played  by  Pauline  Frederick.  Compli- 
cati.'ns,  including  murder,  ensu3  but  all  ends 
happily,  even  to  mother's  unpbuslble  change 
of  heart.  3-10-36 

(A)  Fairly  good  (Y)  Perhaps  (C)  No 

The  Petrified  Forest  (Leslie  Howard,  Bette 
Davis)  (Warner)  Tens?,  tragic  character  drama 
laid  in  desert  fillinpr-station,  little  physical 
action,  much  mental.  Beaten  hero,  ambitious 
heroine,  outlaw  killers  make  the  conflict.  Hu- 
man, strong,  amusing.  Gabrielle  role  beyond 
Bette   Davis.  3-17-36 

(A)  Excellent  (Y)  Mature  (C)  No 

Preview  Murder  Mystery  (Gail  Patrick.  Red 
LaRoque)  (Para)  Engrossing,  suspenseful,  well- 
acted  murder  tale,  with  fast  action,  and  in- 
teresting for  authentic  movie-production  back- 
grounds. Murderer's  intent  to  wipe  out  whole 
cast  of  newly  completed  film  results  in  three 
victims    before   his   capture.  3-31-36 

(A)    (Y)   Good  of  kind  (C)   No 

Prisoner  of  Shark  Island  (Warner  Baxter) 
(Fox)  Notable  portrayal  of  Dr.  Mudd.  rewarded 
for  humanely  setting  Booth's  leg  by  life  impris- 
onment as  Lincoln  murderer.  Unrelieved  mis- 
ery, suffering,  bestial  cruelty,  gruesome  sur- 
roundings. Final  freedom  by  heroic  service. 
Grim  history,  painful  entertainment.  4-7-36 
(A)  Strong  (Y)  Possibly    ,  (C)  No 

Robin  Hood  of  El  Dorado  (Warner  Baxter, 
Margo)  (MGM)  Charming  opening  scenes  of 
Mexican  family  life  in  California  of  '49.  Then 
unrelieved  brutalities,  violence,  bloodshed.  Gold- 
crazed  Americans  kill  wife  and  brother  of  hero 
who  turns  bandit  for  revenge,  till  death  in 
finni   bloody   battle.  3-31-36 

(A)  (Y)  Strong  but  unpleasant  (C)  By  no  means 

Rose  Marie  (Jeanette  MacDonald.  Nelson  Ed- 
dy) (MGM)  Melodious  FrimI  operetta -romance 
richly  done,  with  glorious  singing  in  outdoor 
settings  of  scenic  splendor.  Grand  opera  inter- 
ludes for  background.  Temperamental  prima 
donna,  seeking  renegade  brother,  falls  in  love 
with  Canadian  "Mountie"  seeking  him.  3-17-3fi 
(A)  Exceptional  (Y)  Excellent  (C)  Good 

Story  of  Louis  P-steur  (Paul  Muni)  (Warner) 
Truly  great  picture  realizing  screen's  true 
power.  Moving,  inspiring  portrayal  of  great 
scientist  and  his  struggle  to  combat  deadly 
germs.  Dramatic,  factual,  tensely  interesting 
b'ending  of  the  biographical  and  scientific. 
Muni   practically   perfect.  3-17-36 

(A-Y)  Excellent  (C)  Unless  too  mature 

These  Three  (M.  Hopkins,  M.  Oberon.  J. 
McCrea)  (U.  A.)  Expert  production,  finely 
acted  by  all,  with  amazing  child  part  by  B-t- 
nita  Granville  as  evil,  spiteful  schoolgirl  whose 


sland-rous  lies  bring  tr  gedy  to  three  inno- 
cent people— one  man  and  two  girls.  Credible, 
poignant  drama  of  real  merit.  3-24-36 

( Ai  Fine  of  kind      (Y)  Go;)d  but  mature     (C)  Na 

Thirteen  Hours  by  Air  (F.  McMurray,  Joan 
Bennett )  ( Para )  Brtezy  ace-pilot  hero,  brave 
and  cocksure  of  it.  flies  dizzy  load  cross-con- 
tinent—blonde heiress,  deadly  gunman,  detec- 
tives, an  impossible  kid,  etc.  Fights,  shootings, 
air  perils,  but  he  wins  heiress.  "Snappy  come- 
back" dialog.  4-7-36 
(A)  Depends  on  taste        (Y)  Exciting        (C)  No 

Three  Live  Ghosts  (R.  Arlen,  C.  Allison) 
( MGM )  Rather  amusing  light  comedy,  effec- 
tively done,  abt)ut  three  returned  soldiers,  re- 
port, d  dead.  One,  shell-shocked  into  klepto- 
mania, supplies  most  of  the  fun  and  recovery 
of  his  senses  solves  a'l.  Beryl  Mercer  appears 
in   a   very   unpleasant   role.  3-17-36 

(A|  Rather  good       (Yi  Value  doubtful        (Cl  Nj 

Timothy's  Quest  (Eleanore  Whitney.  Tom 
Keene,  Dickie  Moore,  Virginia  Weidler)  (Para) 
Simple  sincere  little  play,  modifying  the  Wig- 
gins novel  somewhat  nf  little  boy  and  sister  in 
search  of  parents.  Dickie  Moore  delightful  for 
those  who  like  their  emotion  strong.  Love 
story    rather    incidental.  3-3 1-36 

(A)    Good  (Y)    Very  good  (C)   Good 

Trail  of  the  Lonesome  Pin?  ( Frad  McMur- 
ray, Sylvia  Sidney )  ( Para. )  Gorgeous  produc- 
tion of  old  tale  of  violent  feuds  in  Virginia 
mount-'ins.  in  full  and  approximatel .'  true  col- 
or. Cost'y,  eye-filMng  novelty,  but  dramatic 
value  weakened  by  dragging  scenes,  poor  make- 
up, and  heroine's  inept  acting.  3-10-36 
(A-Y)  Interesting  novelty                (C)  Too  strong 

Too  M^ny  Parents  (Juvenile  cast)  (Para) 
Military-school  story  of  boys  from  broken 
homes,  notably  acted,  with  strong  human 
appeal.  Marred  only  by  Hollywood  idea  that 
children  must  be  made  incredibly  wise,  pain- 
fully smart,  or  impossibly  rude,  to  be  amus- 
ing. Mostly  worthwhile.  4-7-36 
(A)  Fairly  good               (Y)  Good               (C)  Good 

Walking  Dead  (Boris  Karloff)  (Warner) 
Fantastic  pseudo-science,  in  bewildering  labora- 
tory, revives  electrocuted  man.  who  gruesomely 
inspires  to  suicide  those  who  framed  him. 
Just  another  horror  picture  to  chill  spines, 
but  rather  less  gory  and  violent  than 
usual.  4-7-36 

(A)  Depends  on  taste  (Y)  No  (C)  No 

We're  Onlv  Human  (Preston  Foster.  Jane 
Wyatt)  (RKO)  Thoroughly  stupid  production 
about  brave  and  pig-headed,  dumb  and  crude 
detective,  his  blunders  and  successes,  his  color- 
less romance,  and.  for  finale,  headlong  heroics 
wholly  contrary  to  what  he  is  supposed  to  have 
learned.  3-31-36 

(A)    Stupid  (Y)    Poor  (C)    No 

W\dow  from  Monte  Carlo  (Dolores  del  Rio. 
Warren  William)  (Warner)  Widow,  about  to 
re-marry,  meets  h?ro  accidentally,  then  clan- 
destinely. Love  interest  is  secondary  to  the 
high-society  struggle,  but  after  blackmail  and 
thrPTt  of  exposure  comes  the  usual  happy 
ending.  3-10-36 

(Ai  Tiresome  (Y)  Stupid  (Cl  No  interest 

Wife  vs.  Secretary  (Gab'e.  Loy.  Harlow) 
(MGM)  Sex-triangle  made  censor-proof  by 
hero's  ardent  affection  for  devoted  wife  incess- 
antly displayed  and  his  "interest"  in  super- 
valuable  secretary  kept  convincingly  decent. 
Still  jealousy,  and  dramatic  fallacy,  nearly 
ruin   all.   Sure-fire  box-office.  4-7-36 

(A)  Good  of  kind  (Y)  Perhaps  (C)  No 

Woman  Trap  (Gertrude  Michael.  George  Mur- 
phy) (Para.)  Mildly  interesting  story  of  iewel 
thieves  who  hold  a  Senator's  daughter  and  re- 
porter captive  in  Mf  xico  until  outwitted.  Thread- 
bare plot,  usual  tough  gang  elements,  with  one 
rather  intriguing  character  part  and  surpris- 
ing denouement  as  rede-minfr  features.  3-24-36 
(A)  Passable  (Y)  Fair  (C)  No 

You  May  Be  Next  (Ann  Sothern.  Lloyd  Nol- 
an) (Col.)  Gangster  melodrama,  mild  of  kind. 
Crooks"  racket  is  blackmailing  radio  stations 
by  ruining  programs  with  invention  of  hero, 
helpless  victim  of  their  plot.  Their  capture 
accomplished  without  gun  play.  Inoffensive 
but  lifeless  acting,  incredible  story.  3-24-36 
(A)  Mediocre  (Y)  Harmless  (C)  No 


I 


April,  19}  6 


Page  121 


^'But  this  way  our  talking  picture  equipment 


YES,  indeed,  it  is  now  possible 
for  schools  to  obtain  talking 
motion  picture  equipment  without 
drawing  on  school  board  funds. 
The  purchase  of  an  RCA  l6mm. 
Sound  Motion  Picture  Projector, 
plus  a  service  often  complete  film 
programs  (covering  a  scholastic 
year)  is  very  simply  financed. 

This  is  how  it  is  done:  There  is 
a  small  down  payment,  which  can 
be  easily  raised  through  your  local 
P.  T.  A.  Subsequent  monthly  pay- 
ments, running  through  the  school 
year,  can  be  more  than  covered  by 
charging  a  small  admission  to  each 
monthly  film  program.  Admissions 
are  usually  lOi. 

At  the  end  of  the  year,  the  school 
owns  the  equipment,  and  there  are 
no  more  expenses,  except  for  film 
rental,  which  is  a  minor  item. 

Programs  furnished  under  this 


self-financing  plan  are  supplied  by 
Walter  O.  Gutlohn,  Inc.,  35  West 
45th  Street,  New  York  City,  who 
are  well  known  in  this  field.  Films 
available  include  such  classics  as 
Jane  Eyre,  The  Last  of  the  Mohi- 
cans, and  other  famous  works; 
sports,  including  sport  instruction; 
news;  and  other  features. 


The  RCA  16mm.  Sound  Motion  Picture  Projector  is 
an  adaptation  of  the  famous  RCA  Photophone  Pro- 
jector used  in  leading  theatres.  Portable.  Can  be 
operated  by  anyone.  Provides  brilliant  pictures  and 
amazingly  realistic  sound. 


Remember  that  educational  use  of 
talking  pictures  is  increasing  stead- 
ily, as  the  country's  leading  educa- 
tional institutions  join  hands  with 
producers,  creating  new  films  of 
marked  instructional  value.  The 
new  RCA  Self-Financing  Plan  is 
offered  only  to  schools,  hospitals 
and  similar  institutions.  There  is  a 
coupon  below.  We  suggest  you  clip 
it  and  get  the  full  details  of  this 
method  that  gives  you  the  famous 
RCA  l6mm.  SoundMotion  Picture 
Projector  without  draw-  ^^S^ 
ing  on  school  board  (j>7tM) 
funds.  Clip  the  coupon! 


RCA  Mfg.  Co.,  Inc.,  Visual  Sound  Section, 
Camclen,  N.  J. 

Please  send  me  full  details  of  the 
RCA  Projectors. 

Name 


RCA  EDUCATIONAL  PRODUCTS 


School- 


Street- 
City. — 


-State- 


RCA  MANUFACTURING  COMPANY,  Inc 

[CAMDEN,    NEW  JERSEY  •   A    SERVICE    OF   THE    RADIO    CORPORATION    OF   AMERICA 


Page  122 


The  Educational  Screen 


Film  Production  in  the  Educational  Field 


IN  THIS  article  we  shall  discuss  certain  factors 
in  the  design  of  16mm.  motion  picture  projectors. 
Upon  glancing  through  the  pages  of  certain  maga- 
zines and  periodicals  one  sees  a  host  of  models  of 
one  make  or  another  and  it  shall  be  the  purpose  of 
this  article  to  endeavor  to  clarify  certain  details 
thereof. 

Probably  the  first  factor  which  should  be  dis- 
cussed is  the  power  of  the  incandescent  bulb  used 
to  project  the  picture.  Not  many  years  ago  the  375 
watt  bulb  was  as  powerful  as  could  be  obtained, 
however  today  the  500  watt,  750  watt  and  1000  watt 
projectors  are  standard  and  one  should  never  pur- 
chase less  than  the  500  watt  size  for  school  use. 

Quite  frequently  teachers  will  say  that  inasmuch 
as  their  film  showings  will,  in  most  cases,  be  to  a 
limited  group  that  they  should  purchase  only  the 
500  watt  model  instead  of  the  750  or  1000  watt 
model.  This  is  the  wrong  conclusion  for  two  rea- 
sons. First,  it  is  always  wise  to  have  more  power 
than  one  needs  in  order  to  "push  through"  dense, 
dark  prints  or  to  accommodate  the  occasional  large 
group.  Secondly,  the  life  of  the  average  projection 
bulb  is  limited  to  approximately  25  to  50  hours 
when  burned  at  full  voltage  of  (normally)  100  volts. 
By  means  of  a  variable  resistance  and  voltmeter  in 
the  larger  models  it  is  possible  to  reduce  the  voltage 
on  the  750  or  1000  watt  bulbs,  thereby  increasing 
their  life  enormously  and  still  securing  as  much  il- 
lumination as  the  500  watt  size.  As  an  example, 
reducing  the  voltage  only  5%  on  the  1000  watt 
model  will  increase  the  life  100%  and  reducing  the 
voltage  10%  will  increase  it  200%.  One  can  readily 
see  that  inasmuch  as  projection  bulbs  cost  from  $6.25 
to  $11.00  each  that  this  is  an  economical  method 
of  operation.  Then  if  the  occasion  demands  the 
full  voltage  may  be  placed  on  the  lamp  and  normal 
screen  brilliancy  obtained. 

These  resistance  units  will  increase  the  cost  of 
the  projector  slightly  but  it  is  believed  that  it  is  a 
justifiable  cost.  Some  schools  however  have  decided 
against  the  use  of  this  item,  preferring  a  line  volt- 
age lamp  without  accessories  as  being  simpler. 
There  is  always  the  danger  of  starting  the  projector 
at  maximum  voltage  of  110  rather  than  80  and  there- 
by endangering  the  bulb.  A  large  projection  bulb 
brings  in  two  factors  which  must  be  reckoned  with. 
In  the  first  place  a  1000  watt  bulb  will  generate 
quite  a  lot  of  heat  thereby  necessitating  an  efficient 
cooling  system.  All  of  the  present  high  wattage 
machines  have  adequate  cooling  systems,  one  manu- 
facturer making  use  of  the  "Venturi  Tube"  prin- 
ciple. Then  again  the  large  bulbs  require  a  large 
current  consumption.  The  1000  watt  model  draws 
approximately    10   amperes    (15   amperes   in   sound 


Conducted  by  F.  W.  DAVIS 

Department  of  Photography 
Ohio  State  University,  Columbus 

projection)  which  is  not  above  the  limit  of  most 
circuits  if  there  are  not  too  many  other  lights  and 
electrical  devices  on  the  same  circuit. 

An  efficient  light  source  demands  an  efficient  op- 
tical system,  which  brings  us  to  the  subject  of  pro- 
jection lenses.  One  writer  claims  that  no  35mm. 
projectors  are  optically  as  efficient  as  the  16mm. 
projectors.*  It  is  true  that  16mm.  projectors  have 
very  large  aperture  lenses,  f  1.6  to  f  2.5,  which  is  on 
the  average  about  3  times  as  fast  as  the  equivalent 
35mm.  portable,  and  1>^  times  as  fast  as  the  best 
theatrical  projection  equipment.  These  lenses  come 
in  various  focal  lengths  for  use  in  different  size 
auditoriums.  For  most  school  use  the  standard  2" 
lens  is  satisfactory.  For  projection  distances  of  50 
to  100  feet  it  is  necessary  to  use  a  3"  or  4"  lens. 

There  is  one  essential  difference  between  a  very 
cheap  projector  and  one  of  good  quality.  This  dif- 
ference lies  in  the  amount  of  wear  and  tear  on  the 
film.  In  a  16  mm  machine  the  film  must  be  started 
and  stopped  in  front  of  the  lamphouse  16  times  ev- 
ery second  (24  times  in  sound  projection).  One  can 
readily  see  that  any  mechanical  device  to  do  this 
must  be  very  carefully  designed  to  keep  the  film 
from  wearing  or  flickering  on  the  screen.  A  recent 
War  Department  Air  Corps  specification  calls  for  a 
maximum  jump  of  the  picture  of  J4"  on  a  6  foot 
screen.  There  are  two  general  methods  of  accom- 
plishing this.  One  is  by  a  small  claw  mechanism 
which  enters  the  film  perforations  and  pulls  the  film 
down  frame  b\'  frame  and  the  other  method  is  by 
means  of  a  sprocket  intermittent  similar  to  those 
used  on  professional  35  mm.  projectors.  If  this 
"pull  down"  mechanism  is  not  correctly  designed 
the  claws  will  tear  the  sprocket  holes,  or  the  film 
itself,  or  so  wear  the  film  that  it  will  never  be  suit- 
able for  good  projection  again. 

In  purchasing  a  projector  one  should  demand  a 
picture  reverse  and  a  still  picture  mechanism.  The 
still  picture  feature,  allowing  the  projector  to  stop 
and  show  only  the  one  stationary  frame,  is  advan- 
tageous at  times  for  purposes  of  analysis  and  study, 
but  one  should  make  sure  that  the  projector  has  a 
safety  screen  which  falls  in  front  of  the  light  source 
thus  reducing  its  intensity,  to  prevent  burning  of 
the  film. 

A  power  rewind  saves  many  valuable  minutes  in 
rewinding  films  after  a  showing.  However  as  was 
mentioned  by  B.  A.  Aughinbaugh  in  the  January  issue 
of  the  Educational  Screen,  one  should  beware  of 


^Journal    of    The    Society    of    Motion    Picture    Enmneerx.      Vol.    XXV, 
October  1935,  p.  316. 


I 


April,  193  6 


Page  123 


SYNCROFILM  ANNOUNCES 


A  35  MM  SEMI-PORTABLE 
SOUND     PROJECTOR 

SYNCROFILM  adds  to  its  line  of  16  MM  and  35  MM 
Sound  Projectors  a  new  35  MM  Semi-Portable  Sound 
Projector,  especially  designed  to  enable  the  school 
auditoriunn  to  enjoy  the  same  professional  quality  of 
sound  and  projection  produced  in  the  large  modern 
deluxe  theatres. 

The  new  projector  has  the  advantage  of  portability. 
It  can  be  set  up  in  various  auditoriums  in  a  commun- 
ity, with  results  equal  to  those  from  permanent  in- 
stallations. 

Simplicity,  ruggedness  and  fine  workmanship  are 
but  a  few  of  the  outstanding  features  in  the  new 
SYNCROFILM  35  MM  SEMI-PORTABLE  Sound  Pro- 
jector which  make  it  the  greatest  value  for  the  money 
the  Weber  Machine  Corporation  has  ever  offered.  We 
have  never  sacrificed  quality  to  price,  but  by  our 
methods  quality  can  be  produced  at  a  price  gratify- 
ingly  low. 

Write    NOW    for    full    description    and    details. 

Weber  Machine  Corp. 

Manufacturers  of  85  mm.  and  16  mm.  Sound  Projectorfl 

59  RUTTER  STREET     —     ROCHESTER,  NEW   YORK 

New   York  Sales  and  Export  Department 

15  Laight  St.,  N.  Y.  C.  -:-  Cable:  Ramos.  N.  Y. 


the  "mile  a  minute"  practice  in  rewinding.  The 
mere  fact  that  it  is  possible  to  run  the  projector  at 
full  speed  and  save  a  few  seconds  of  time  in  rewind- 
ing does  not  mean  that  this  should  be  a  general 
practice.  Use  a  power  rewind  slowly  and  save  the 
films. 

Projectors  are  now  being  built  with  1600'  reel 
I  arms  a.s  well  as  the  400'  style.  This  enables  an 
hour's  show  to  be  run  without  changing  reels  in- 
stead of  the  15  minute  limit  previously.  For  the 
great  majority  of  school  uses  these  1600'  reel  arms 
are  superfluous  inasmuch  as  very  few  silent  films 
are  obtainable  on  these  reels.  Almost  all  teaching 
films  are  in  400'  units. 

In  view  of  the  fact  that  many  projectors  will  be 
operated  by  pupils  or  inexperienced  teachers  it 
would  be  wise  to  investigate  the  ease  of  threading 
of  the  various  models.  None  of  the  existing  types 
are  difificult  to  thread  after  a  little  practice,  however 
some  seem  to  be  more  simple  for  pupils  than  others. 
A  small  pilot  light  is  a  distinct  advantage  along  this 
line.  Due  to  the  fact  that  most  projection  will  be 
in  a  darkened  room  it  is  very  difficult  to  thread  the 
projector  between  reels  without  this  auxiliary  light 
unless  the  room  lights  are  turned  on  each  time.  These 
pilot  lights  are  built  into  some  of  the  projectors  and 
are  auxiliary  equipment  in  others. 

One  other  feature  which  should  be  required  is  an 
easily  accessible  aperture  plate.  This  plate  should  be 
so  constructed  that  it  can  be  readily  cleaned.  Any 
,dirt  or  dried  emulsion  which   forms  on  this  metallic 


surface  must  be  removed,  otherwise  the  film   will  be 
scratched. 

In  conclusion  we  might  say  that  in  purchasing  a 
projector  one  should  buy  only  a  high  grade  machine 
of  sufficient  power  for  the  use  to  which  it  will  be 
placed.  Motion  picture  films  deteriorate  fast  enough 
without  contributing  to  the  wear.  So  if  not  for  the 
sake  of  one's  own  films  at  least  for  the  sake  of  films 
which  are  rented  or  borrowed,  only  the  higher 
grade  projector  should  be  purchased. 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly   believe)    are    the    lowest   in    the    U.    S.    A> 

All  programs  unconditionally  guaranteed. 

All  postage  on   films  —  both  to   and  from  destination  — -paid  by  us. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  equipment?    Try  us! 

THE     MANSE     LIBRARY     ■"" '"5Kna'?riJ.'""'°" 


NOW  .  .  . 

With    These   Improvements 

DE  LUXE  "A" 
CRYSTAL  BEADED  SCREEN 


BAITf-LITt 
TAUVISION 


porfabic  projection 
screens 


utilizing  a  newly  designed  screen  cloth  which  retains  its  basic 
whits  for  a  longer  period — and  an  improved  mechanical  system 
which  enables  one  to  release  the  screen  instantly  and  automati- 
cally by  simply  pulling  it  up  from  the  box.  These  innovations 
have  been  effected  without  any  increase  in  price. 

30  X  40" $15.00   list 

Other  sizes  priced  proporti'>""teIv. 
At   all   Df'aJprn  —  Liternture   on    request 

Motion  Picture  Screen  &  Accessories  Co. 

^2%  WEST  26th  STREET  NEW  YORK 


Page  124 


The  Educational  Screei 


School  Depdrtment 


Conducted  by  DR.  F.  DEAN  McCLUSKY 

Director.  Scarborouqh   School.   Scarborouqh-on-Hud«on,   N.  Y. 


Lesson  on  the  Canadidn  Fur  Trapper--- Geography  4B 
Using  American  Museum  Slides 


Aim:  To  teach  the  children  how  the  people  in  the 
northern  forests  or  wilderness  live  and  earn  their 
living. 

Motivation: — (World  Map) — Children  follow  on 
their  individual  maps.  At  what  port  in  China  did 
we  land  when  we  came  from  Australia?  Point  to  it. 
W'e  are  leaving  to-day  by  this  port  to  finish  our  trip 
around  the  world.  Suppose  it  is  a  very  cold  and 
chilly  night  on  board  the  ship,  what  would  you  wear? 
From  what  country  do  you  think  we  get  our  furs? 
To-day  we  are  going  to  visit  one  of  the  countries  from 
which  we  get  furs.  From  what  continent  did  we 
start  when  we  first  began  our  trip?  We  are  going  back 
to  North  America  to  visit  Canada  and  to  see  h- w  the 
people  in  the  northern  forest  and  wildernesses  of  that 
country  live  and  earn  their  living. 

Presentation:  In  what  direction  shall  we  travel 
from  China?  We  stop  at  Vancouver  Island.    Find  this 


Sound  Quality 

Quality 


See  It  —  Hear  It 


standard  Film 
35  mm. 


COMPARE 

The    New 
EDUCATOR 
with   any   equip- 
ment selling  for 
$1000     or     more. 


-V a  ji     h r     used 

irith       Oflilitlonftl 

fipi'akt'rs. 


You  buy  it 

strictly    on 

merit 

#175 

DOWN 

and  19  equal 

small    monthly 
payments. 

No  interest 

No  Carrying 
Charges 

FREE 
Demonstration 


One   Year 
Guarantee 

Write  today 

for     full 

details. 


THE  HOLMES  EDUCATOR 
HOLMES  PROJECTOR  CO. 


1813  Orchard  Street 


Chicago 


])lace  on  your  map.  We  cross  the  beautiful  Rock 
jMountains  and  travel  to  the  Hudson  Bay  region.  Car 
ada  is  the  whole  northern  jjart  of  North  America  es 
cept  for  Alaska.  In  what  zone  is  Canada?  Loca<| 
Hudson  Bay.  When  did  we  first  hear  about  this  place? 

(Map  slwcciiig  cstablisliineiifs)  How  do  you  thing 
people  earn  their  living  who  live  near  a  forest?  The 
oldest  industry  in  all  the  world  is  fur  hunting  and 
trapping.  Let  us  visit  one  of  the  fur  posts  and  learn 
something  about  the  trapper. 

(Man  Working)  In  what  season  of  the  vear  do  the 
trappers  begin  their  work?  How  can  you  tell?  What 
is  this  man  making?  (mocassins  —  snow-shoes)  W  hat 
does  he  look  like?  (For  rocky  land — short  and  broad 
snowshoes)  (For  jirairie  land — long  and  narrow  snow- 
shoes)     (Frames  made  of  ash  or  birch) 

(Hunter  and  Boy)  Who  do  you  think  this  man  is? 
Describe  his  clothing.  Why  doesn't  he  wear  bright 
colors?  (Only  scarf  or  waist  belt  mav  have  bright 
color  to  keep  hunters  for  mistaking  him  for  a  moose.) 
No  need  for  new  clothing.  What  do  you  think  the  boy 
does?  When  he  has  the  boy,  the  hunter  takes  more 
tools  and  sled.  Old  hunter  prefers  to  travel  light 
with  his  dog  as  a  companion.  What  does  the  hunter 
need?  (fire-arms,  ammunition,  hunting  knife,  steel 
traps,  canvas  for  tent  etc.)  He  travels  along  water- 
ways.    Why? 

(Chooses  the  Trapping  Ground)  What  do  you 
think  the  Indian  is  doing?  (takes  an  entire  day  to  lay 
traps  —  makes  a  circle)  Use  of  steel  traps  with  bait, 
covers  his  trail  with  bear's  grease  and  sweeps  spot  with 
snow.  This  trap  is  very  cruel  as  the  animal  sufi"ers  a 
great  deal.  Prefer  the  deadfall  or  box  trap.  In  box 
trap  animals  are  alive  and  best  ones  are  kept  for  furs. 

(Deadfall)  What  kind  of  trap  do  you  think  this 
is?  (deadfall).  Bait  in  it  —  animal  enters  to  bite  it 
and  heavy  log  at  entrance  falls  on  his  back  and  kills 
him  instantly. 

(Tent)  What  is  this  trapper  doing?  How  does  he 
make  his  tent?  \\'hat  does  he  put  on  the  sides?  Pine 
and  balsam  boughs  for  his  bed.    ^\^^at  does  his  dog  do? 

(Indians  at  Post)  Where  do  you  think  these  Indians 
are?  How  do  they  look?  W'hat  are  the  boys  wear- 
ing? Old  men?  (Sit  and  tell  stories — feast  at  Christ- 
mas— invited  by  the  governor  or  factor  of  the  post.) 

Organization:— (A/a/i  of  Canada) — In  what  con- 
tinent is  Canada?     Point.     In  what  zone?     Point.    In 

(Continued  on  page  126) 


I 


April,  1936 


How  Are  Screen 
Cartoons  Made? 


Millions  of  adults  and  children 
want  to  know.     So  .  .  , 


LOWELL  THOMAS  interviews  a  famous 
screen  cartoonist,  and  thoroughly  explains 
and  illustrates  the  tricks  and  mechanics  that 
have  amazed  and  mystified  audiences  for 
years! 

"CARTOONLAND 
MYSTERIES" 

Revealed  for  the  first  time  in  Universal's  un- 
usual "GOING  PLACES"  No.  18.  Another 
step  forward  by  Universal  in  genuine  visual 
education  and  entertainment! 

Write  to  Universal's  N on-theatrical  De- 
partment for  further  information  on  this 
behind-the-scenes  motion  picture  scoop! 

• 

Consult  us  on  geographical,  musical  or 
historical  subjects — on  current  events — on 
cartoon   comedies — or  feature   length  films! 

UNIVERSAL  PICTURES 
CORPORATION 

Rockefeller  Center  New  York.  N.  Y. 

WHAT  THE    EYE    SEES,   THE    MIND    REMEMBERS! 


Page  125 


%  The  story  of  coffee  L  the  romance  of  a  nation. 
No  more  vivid  or  interesting  method  can  be  found 
of  presenting  the  facts  about  Brazil  to  your  class 
than  by  visual  education.  The  facts  of  its  people 
and  products  leap  to  life  on  the  screen  . . .  and 
each  member  of  your  class  has  the  same  mental 
impression  ...  an  impression  that  is  not  distorted  by 
the  pupil's  own  interpretation  of  a  word  picture. 

Whether  in  geography,  biology,  history  or  any 
subject  of  the  school  curriculum,  students  learn 
faster  and  retain  their  knowledge  longer  when 
taught  by  visual  education.  There  is  a  Spencer 
projector  for  every  purpose.  Our  staff  of  projec- 
tion experts  will  be  glad  to  assist  you  in  the  selec- 
tion of  a  Delineascope  best  for  your  school  needs. 

MODEL   VA    VeLlneaicope 

Projects  both  gloss  slides  and  opaque  illustrations. 
Colored    pictures   accurately   reproduced.     Easily 
portable  from  room  to  room. 
Brilliant  illumination.  A  6-inch 
opaque  illustration  will  show 
7  feet  square  on  the 
screen  20  feet  away 
when  a   16-inch  ob- 
jective is  used. 

Wrife  for  fo/der  K-78  for 
comp/efe  descripfton  and 
prices  on  SpsnzGr  Delin- 
eascopes  for  schoo/  use. 
Please  address  Dept.   R  4^ 

Spencer  Lens  Company 


Buffalo 


IsPtNg?! 


New  York 


Page  126 


The  Educational  Screenl 


The 
LAST     WORD 

in 

MINIATURE  CAMERA 
PHOTOGRAPHY 


Thisfascinating  new  field  of  photography 
has  been  exhaustively  covered  in  the 
"Leica  Manual"  by  Morgan  and  Lester. 
500  pages  crammed  with  brass-'.cck  information  about  LEICA  Photo- 
graphy. 22  specialists  and  pioneers  in  miniature  camera  photography 
have  contributed.  There  is  one  whole  section  devoted  to  "Leica  in 
Science  and  Education"  including  chapters  on  "The  Leica  in  Visual 
Education",  "The  Ltica  in  Historical  Research",  "Copying  Books  and 
Manuscripts",  "The  Miniature  Camera  for  Miniature  Monsters",  "Photo- 
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•   IS  I«E  SUIIONtRT  OF  HE  SC«EE« 

what  hemisphere?  Point.  In  what  parts  of  Canadil 
do  we  find  the  forest?  What  ])eople  do  we  find  there n 
What  do  they  do  to  earn  a  living?  Tell  about  somel 
of  the  tra])s  that  they  set  for  the  animals.  Now  see 
your  geography  books  can  tell  you  any  more  interesting 
things. 

(Teacher  summarizes  on  material  in  text  book.) 
By  MRS.  PAULINE  A.  BASHKOWIl 

New  York  City   Schools 

Symposium  on  Sound  and  Silent  Films 

{Concluded  fiunn  page  116) 

have  been  a  lot  different.  It  wa.s  uist  an  impression  I  re- 
ceived.    I  know   I   never  had  that   feeling  before. 

We  are  using  ten  silent  pictures  to  one  sound  picture 
now.  We  will  use  probably  from  300  to  400  reels  of  motion 
pictures  in  our  schools  this  year.  .-\s  we  have  for  many 
years,  we  are  ,e;oing  to  keep  our  system  open  for  any  pro- 
gressive move,  and  we  are  not  taking  any  stand  for  or 
against  sound  films.     They  both  have  their  place. 

Mr.  Krusc  (Bell  &  Howell  Company.  Chicago,  Illinois)  : 
I  am  head  of  the  film  division  and  I  was  particularly  inter- 
ested in  Mr,  Lain's  reaction  toward  the  silent  picture  be- 
cause our  film  shown  here  was  one  of  the  new  productions 
brought  for  the  very  purpose  of  getting  your  reactions.  I 
hope  that  teachers  as  a  whole  won't  take  the  attitude  that 
these  big  bad  wolves,  the  manufacturers,  are  trying  to  force 
something  over  on  them.  As  a  matter  of  fact,  we  come  to 
these  meetings  to  find  out  essentially  what  you  want,  and 
we  have  pretty  good  data  to  the  effect  that  the  youngsters 
themselves  in.  schools  want  the  talking  pictures,  and  an 
increasing  number  of  teachers  do.  On  the  other  hand,  these 
critical  remarks  can  only  improve  the  quality  and  content 
you  may  expect  in  talking  pictures  as  production  continues. 
."Ks  to  the  psychological  interruption  of  the  printed  title  in 
the  picture,  that  is  something  that  might  well  be  the  subject 
of  serious  researcli  and  study.  The  very  raising  of  the 
question  is  a  good  thing. 

The  Chicago  visual  instruction  department  has  bought 
four  sound  machines  and  quite  a  number  of  sound  reels 
have  been  put  into  use.  We  ask  the  cooperation  of  teachers. 
We  ask  their  advice  on  what  should  be  incorporated  into 
the  reels.  A  picture  was  sent  to  John  Hollinger  at  Pitts- 
burgh for  his  reactions.  It  was  one  on  Ethiopia.  He  asked 
why  we  didn't  have  the  native  sounds  of  the  people.  That 
is  the  type  of  suggestion  that  comes  from  teachers,  the 
users  of  film,  and  I  am  sure  the  producers  of  film  welcome 
it.  It  is  that  type  of  cooperation  that  has  been  enlisted  in 
advance  by  many  of  the  producers.  We  have  expert  teachers 
and  others  on  the  staff.  And  these  meetings  where  we  have 
the  opportunity  to  thrash  out- the  kind  of  things  needed  are 
very,  very  useful   to  teacher  and  manufacturer  alike. 

Chairman  Frcoiian:  We  have  gone  s?v:;tee:i  mi:iutes  be- 
yond the  time  assigned  to  this  symposium.  Let  me  say  in 
conclusion  that  I  feel  personally  very  much  gratified  at  the 
results  of  this  conference.  It  seems  to'  me  that  we  have 
had  very  valuable  food  for  reflection  presented  to  us,  and  I 
am  gratified  at  the  fact  that  half  a  dozen  of  you  were  on 
your  feet  at  the  same  time  wanting  to  say  something.  I 
interpret  that  as  meaning  that  the  discussion  has  raised 
quesions  in  your  mind  and  started  you  to  thinking  on  these 
problems  instead  of  merely  arousing  feeling  reactions  or 
emotional  reactions.  That,  it  seems  to  me,  is  a  very  deep 
source  of  congratulation  to  those  who  organized  this  pro- 
gram. I  think  the  two  papers  that  were  presented  were  ad- 
mirable papers.  The  meeting  as  a  whole  seems  to  me  to 
have  been   a   very   valuable  one.     We  are  adjourned. 


April,  195  6 


Page  127 


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in  gaining  a  better  understanding  of  the  subject. 
The  superior  reflective  properties  of  Da-Lite 
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on  the  movements  of  life  was  at  first  accepted  merely 
as  another  uncanny  power  of  the  magical  movie,  and 
enjoyed  in  blissful  ignorance  of  how  it  was  done. 
Gradually  press  write-ups  acquainted  the  public  with 
the  general  method — thousands  of  the  separate  draw- 
ings, each  differing  slightly  from  the  preceding — but 
the  average  spectator's  understanding  of  the  exact 
process  remained  vague.  The  all-important  intro- 
duction of  the  transparent  celluloid  sheet  in  the  process 
only  added  to  the  vagueness  and  confusion  in  the  pub- 
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Universal  Pictures  has  just  produced  a  one-reel 
film,  entitled  "Cartoonland  Mysteries",  which  will  end 
this  mystery  for  millions.  It  is  "Number  18"  in  the 
series  of  "Going  Places"  with  Lowell  Thomas,  a  10- 
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The  complete  production  of  one  of  the  "Oswald  the 
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Page   128 


% 


The  Educational  Screen 


FILMSLIDES 

THE  PERFECT  COMPLEMENT 
TO  MOTION  PICTURES 


The  Economy  y  the 
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The  daily  use  of  FILMSLIDES  therefore  and  the 
weekly  showing  of  motion  films  for  summary  or 
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Among  The  Magazines  and  Books 

(Comiudcd  from  page  119) 

eventually  be  developed  for  film  purposes,  in  whicl 
motor  sequence  is  not  the  inevitable  requiremem 
hut  can  be  made  to  give  way  to  a  synthetic  process 
of  building  by  fragments.  It  involves  the  devising 
of  movement  se(|ucnces  of  the  rc(|ui.^ite  kind. 

The  Administration  of  Visual  A'ds;  .\  Summary 
of   ths   Literature    from    1923   ti)    1935.    Compiled   by 
Fannie  W' .  Dunn  and  Etta  Schneider,  Teachers  Co^ 
lege,  Columbia  University,   1936.  ™ 

-Vbout  fifty  digests  of  the  most  important  articles 
on  this  subject  are  included  in  a  publication  of  86 
pages.  The  typography  is  such  that  the  main  points  of 
a  treatise  readily  make  an  appeal  to  the  eye.  "Ad- 
ministration for  a  City  System"  is  covered  in  two  sec- 
tions, "The  Establishment  of  a  City  System"  and 
".Some  E.x])eriences  in  Administering  a  City  System." 
Digests  of  nineteen  articles  are  given  under  the  first 
section.  The  other  cha])ters  deal  with,  ".\dministration 
within  a  .School  I'uilding"  ;  "Systems  for  Filing  and 
Cataloging"  ;  ".Administration  for  a  State"  ;  and  "Na- 
tional Plans."  The  com])ilation  will  do  excellent 
service  in  saving  an  extensive  search  through  theses 
and  tomes,  and  will  also  save  a  long  perusal  of  each  ar- 
ticle when  located,  as  each  one  is  tlioroughly  analyzed. 

Film  Catalogs 

"Sources  of  Educational  I-^ilms  and  Eciuipment," 
20-i)age  mimeographed  circular  (No.  150)  compiled 
by  Cline  M.  Koon,  senior  specialist  in  radio  and  visual 
education,  U.  S.  Office  of  Education,  has  recently 
been  issued  for  free  distribution  by  the  U.  S.  Office  of 
Education  at  \\'ashington.  The  Introduction  states 
that  no  attempt  has  been  made  to  include  a  list  of  ed- 
ucational films  or  even  a  complete  list  of  film  sources. 
Instead,  the  circular  is  issued  to  meet  the  widespread 
demand  for  some  good  sources  of  educational  films 
and  information  about  motion  pictures  in  education. 
It  contains  a  compilation  of  film  and  equipment  sources, 
references  to  books,  source  lists,  magazines  and  or- 
ganizations from  which  further  information  is  avail- 
able. 

-Another  useful  reference  list  is  the  "Guide  to  Mo- 
tion Pictures,"  prepared  by  the  Community  Chests  and 
Councils  for  the  benefit  of  social  and  health  workers, 
and  others  interested  in  similar  activity.  A  glance  at 
the  table  of  contents  of  this  48-page  catalog  shows  a 
wide  range  of  subject  matter,  which  is  classified  into 
eighteen  sections.  Section  1  lists  some  theatrical  fea- 
tures which  contain  e.xcellent  material  bearing  on 
problems  in  social  work;  section  II  describes  the  Com- 
munity Chest  films  which  have  been  produced  by  var- 
ious communities.  Other  topics  covered  are  character- 
building,  health,  hygiene,  recreation,  vocational  guid- 
ance, safety,  history,  and  nature  study.  The  Guide 
is  sold  for  50c  per  copy  by  Community  Chests  and 
Councils  Inc..   135  E.  44th  Street,  New  York  City. 


Page  129 


RiGHTiN  YOUR 

CLASSROOM 


A  MCNG  Eastman  Classroom  Films — of  which 
jl\.  more  than  200  are  available — those  dealing 
with  Nature  Study  are  outstandingly  popular.  This 
living  subject  is  particularly  well  suited  to  films. 
They  clarify  it  as  no  other  method  can  .  .  .  make  it 
vitally  real,  impress  it  permanently  on  the  memory 
of  every  student. 

Look  over  the  list  of  Nature  Study  films  given  be- 
low. The  subjects  have  been  selected  with  great 
care.  You  will  recognize  their  value  to  you  and  your 
pupils.  Plan  to  acquire  those  which  are  not  already 
in  your  library. 

Eastman  Classroom  Films  cover  a  variety  of  sub- 
jects. Each  film  has  been  carefully  prepared  by 
authorities  to  insure  accuracy.  If  you  do  not  have 
the  descriptive  list  of  these  standard  instructional 
motion  pictures,  send  for  your  copy.  Eastman  Kodak 
Company,Teaching  Films  Division.Rochester,  N.  Y. 

EASTMAN  NATURE  STUDY  FILMS 


Adventures  of  Peter 
Bears 
Beavers 
Baby  Beavers 
Game  Birds 
Bird  Homes 
Birds  of  Prey 
Birds  of  the  Seacoast 
Some  Friendly  Birds 
Wading  Birds 
Luther  Burbank 
Animals  oftheCat  Tribe 
From  Flower  to  Fruit 
Frogs,  Toads,  and 
Salamanders 


Wild  Flowers 

The  Ruffed  Grouse 

Some  Water  Insects 

Three  Jungle  Giants 

Rocky  Mountain  Mammals 

Some  Larger  Mammals 

Monkeys  and  Apes 

Oysters 

The  Raccoon 

Reptiles 

Seals  and  Walruses 

Some  Seashore  Animals 

The  Ship  of  the  Desert 

Spiders 

Under-Sea  Life 


Fasiman  CLASSROOM  FILMS 


Page  130 


The  Educational  Screen 


Among  the  P rod u c e r s 


Eastman  Presents  Magazine  Cine-Kodak 

A  new  16mm  Cine-Kodak  which  loads  with  a  maga- 
zine in  three  seconds,  has  been  introduced  by  Eastman 
Kodak  Company.  This  innovation  further  simplifies 
the  taking  of  motion  pictures  by  the  amateur  as  it  elim- 
inates the  operation  of  threading  the  film.  The  maga- 
zine is  merely  slipped  into  the  camera,  and  the  camera 
closed  as  if  it  were  a  book  without  having  to  adjust 
a  thing.  Another  advantage  is  the  ability  to  exchange 
partly  used  film  for  another  type  without  having  to 
run  the  entire  footage  to  do  so.  Thus,  to  switch  from 
Panchromatic  to  Super  Sensitive  "Pan"  for  indoor  pic- 
tures or  to  Kodachrome  for  color  movies,  it  is  only 
necessary  to  remove  the  partly  used  magazine  and  re- 
place it  with  a  magazine  loaded  with  the  film  desired. 
One  may  have  any  number  of  partly  used  magazines 
which  may  be  returned  to  the  camera  to  complete  the 
exposure.  The  magazine  protects  the  film.  A  foot- 
age meter  on  each  magazine  shows  how  much  film  has 
been  used. 

Other  features  of  the  new  camera  are  three  speeds — 
normal,  half-speed  and  slow  motion,  interchangeable 
lenses,  a  device  that  prevents  accidental  exposure  while 


Where  the  commercial  firms — whose  activities  have  an 
important  bearing  on  progress  in  the  visual  field — 
are  free  to  tell  their  story  in  their  own  words.  The 
Educational  Screen  is  glad  to  reprint  here,  within  nec- 
essary space  limitations,  such  material  as  seems  to  have 
most    informational    and    news    value    to    our    readers. 


the  camera  is  not  in  use.  an  automatic  shut-off  for  the 
spring  motor,  and  an  ingenious  device  described  as  a, 
"pulse"  for  timing  the  length  of  the  scenes. 

New  Winder  for  Leica  Users 

The  versatility  of  the  Leica  camera  has  been  furthen 
extended  by  the  recent  addition  of  a  new  rapid  winder, 
which  will  enable  a  series  of  rapid  shots,  such  as  sports 
events,  to  be  made.  In  the  past,  making  such  a  series 
of  photos  was  beyond  the  range  of  the  average  ama- 
teur, for  before  he  could  rewind  the  shutter  or  trans- 
port the  film  for  a  second  exposure,  the  action  was 
over.  The  rapid  winder  consists  of  a  special  baseplate 
which  is  interchanged  with  the  regular  baseplate  of 
the  Leica.  A  trigger  is  provided  on  the  rapid  winder, 
and  by  pulling  it  along  a  groove,  the  shutter  is  wound 
and  the  film  transported.  To  make  the  exposure,  it  is 
therefore,  only  necessary  to  jnill  the  trigger  of  the 
rapid  winder  and  press  the  shutter  release  button. 
The  rapidity  with  which  exposures    can    be    made    is 


DeVry  Leads  In  Sales  Because  DeVry  Leads  In  Engineering 

THE  ONLY  RADICAL  ADVANCE  IN  16  MM.  EQUIPMENT 
IN  1 935-36  WAS  MADE  BY  DE  VRY 

(1)  Replacing    the   Amateur    Claw    Movement   with    the    Professional 
Sprocket  Intermittent  Movement 

(2)  The  Silent  Chain  Drive. 

(3)  The  Double  Exciter  Lamp  Socket 


DeVry  16  mm.  Sprocket  Intermittent  Sound  Unit 


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DeVry  Theatre  Sound  Projector 


Because  DeVry  Manufactures  ALL  TYPES  of  Motion  Picture  Equipment  Silent  and  Sound  16  and  3  5  mm. 
Projectors  and  Cameras,  DeVry  representatives  give  unbiased  advice  as  to  the  type  best  suited  to  each  school. 
Send    for    free    membership    card    and     program 

FOR  THE  NATIONAL  CONFERENCE  ON  VISUAL  EDUCA- 
TION AND  FILM  EXHIBITION,  CHICAGO— JUNE  22nd  TO 
25th,    1936. 

ADMISSION  BY  CARD  TO  ALL  SESSIONS 

HERMAN    A.    DeVRY,    INC. 


COUPON    FOR   MEMBERSHTP   CARD 

Name     

Address 

Position 

Film    Entry,    if    any 


1 1  CENTER  ST.,  CHICAGO 


I 


pril,  1936 


Page  131 


• 

BETTER  16  mm.  Sound-on-FIlm 

• 

\VORLD'<>»     FII^EST     FILMS 

ALL  LAINGIAGES — ALL  LAI\DS 

• 

WRITE    FOR    -BLUE    LIST'   

GARRISON       •""-■*    "'ST-    '"c. 

u    H    n    n    I    o    u    n          729    7th    AVE..    N.Y.C. 

• 

limited  only  by  the  speed  with  which  the  photographer 
can  i)iill  the  trigger.  It  take.s  but  15  to  20  seconds 
to  make  36  ex|5osures.  Eqiiipjicd  with  a  Leica  camera 
and  the  new  rapid  winder,  it  is  claimed  no  action  will 
be  too  fast  for  the  photographer  to  record. 

We  are  informed  by  E.  Leitz,  Inc..  60  E.  Tenth 
.Street,  New  York  City,  that  a  slight  adjustment  will 
have  to  be  made  on  older  models  of  the  Leica  camera 
to  enable  them  to  accommodate  this  new  accessory. 
For  further  information  the  reader  is  advised  to  write 
to  E.  Eeitz.  Inc. 

Improvements  in  Bri+eli+t  Screens 

The  Motion  Picture  .Screen  cV  Accessories  Co.  of 
526  West  26th  St..  New  York  City,  announce  several 
major  im])rovements  in  their  DeLuxe  "A"  Motion 
Picture  Screen.  New  ideas  and  materials  are  con- 
stantly investigated  by  this  company  with  a  thought 
to  their  incorporation  in  P)ritelite-Truvision  Screens. 
They  have,  in  conjunction  with  one  of  the  leading 
textile  mills  of  the  country,  so  perfected  the  screen 
cloth  that  it  will  retain  its  basic  white  for  a  longer 
period  and  will  continually  project  images  with  greater 
brilliancy.  A  further  improvement  has  been  effected 
in  the  sim])Hfication  of  its  operation,  as  the  screen  is 
now  raised  automatically  and  instantly  by  simplv  lift- 
ing it  u])  from  the  box.  These  improvements  are  in- 
cluded in  the  regular  price.  The  manufacturers  will 
be  |)lease<l  to  send  information  to  interested  readers. 

New  Camera  Accessories 

Right  up  to  the  minute  in  design  are  a  new  lens 
hood  and  graduated  filter,  brought  out  by  the  firm  of 
Franke  &  Heidecke,  for  use  with  the  Rolleiflex  and 
Rolleicord  cameras.  The  hood,  shaped  for  the  square 
format  of  these  popular  cameras,  is  fitted  with  a  cam- 
actuated  contracting  grip  arrangement  which  prac- 
tically locks  it  to  the  lens  mount.  Provision  is  also 
made  for  holding  the  new  33  mm.  disc  filters  inside 
the  hood,  which  is  supplied  with  a  neatly  made  leather 
case.  Their  graduated  filter  has  been  so  constructed 
that  it  will  go  over  the  front  of  the  lens  hood,  and  is 
thereby  kept  at  the  correct  distance  from  the  lens  so 
that  it  can  be  really  eflfective.  The  filter  slides  vertic- 
ally in  a  well  made  holder  and  in  use  it  is  first  adjusted 
with  the  aid  of  the  finder  lens ;  then  it  is  transferred 
to  the  taking  lens  for  the  actual  exposure.  No  in- 
crease in  the  normal  exposure  time  is  required. 

F"or  further  information  and  prices,  we  suggest 
that  you  write  to  Burleigh  Brooks,  127  West  42nd 
Street,  New  York  City,  and  ask  for  the  new  edition 
of  "Practical  Accessories"  to  the  Rolleiflex. 


There  Is  a  Reason 

WHY  LANTERN  SLIDES  MADE 

FROM  KEYSTONE  THIRD-DIMENSION 

NEGATIVES  ARE  SUPERIOR 


Lantern  Slide  from  Keystone  Primary  Unit  on  Indians 

Stereoscopic  photography  is  the  most 
exacting  and  difficult  type  of  photography. 
Good,  clear,  third-dimension  requires  that 
there  be  two  pictures  exactly  alike  in  all  de- 
tails. If  one  picture  is  faulty  in  any  detail, 
the  fusion  is  imperfect,  and  the  negative 
more  or  less  useless.  In  securing  two  per- 
fectly matched  pictures,  therefore,  the  re- 
sult is  usually  a  negative  perfect  in  every 
detail.  There  are  no  fuzzy  corners  or  blurred 
spots  in  a  third-dimension  negative. 

In  building  up  your  visual  program,  you 
will  do  well  to  investigate  the  Keystone  Units 
in  the  Social  Studies — all  lantern  slides  made 
from    Keystone    third-dimension    negatives. 

Keystone  View  Co. 

MEADVILLE,  PENNA. 


Page    132 


The  Educational  Screeft 


Here    They    Are 


FILMS 

R.  B.  Annis  Company  (6) 

1505  E.  Michigan  St.,  Indianapolis,  Ind. 
Bray  Pictures  Corporation  (3,  6) 

729  Seventh  Ave.,   New  York  City 
Eastin  16  mm.  Pictures  (6) 

(Rental  Library)   Davenport,  la. 
Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 

Rochester,  N.  Y. 

(See    advertisement   on    page    129) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020    Chesnut    St.,    Philadelphia,    Pa 

606  Wood   St.,   Pittsburgh,   Pa. 
Edited  Pictures  System,  Inc.         (1,  4) 

330  W.  42nd  St.,  New  York  City 
Garrison  Film  Distributors  (2,  5) 

729   Seventh   Ave.,  New   York  City 

(See    advertisement   on    page    131) 

Harvard  Film  Service  (3,  6) 

Biological    Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 

Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,  111. 

(See   advertisement   on   page    126) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 
The  Manse  Library  (4,  5) 

409  McAlphin  Ave.,  Cincinnati,  O. 

(See  advertisement  on  page  123) 

Pinkney  Film  Service   Co.  (1,  4) 

1028    Forbes    St.,    Pittsburgh,    Pa. 
Ray  Bell  Films,  Inc.  (3,  6) 

2269  Ford  Rd.,  St.  Paul,  Minn. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal   Pictures   Corp.  (3) 

Rockefeller    Center,    New   York   City 

(See   advertisement   on   page    125) 

Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 

Wholesome  Films  Service,  Inc.  (3,  4) 
48  Melrose   St.,  Boston,   Mass. 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

MOT/ON  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See    advertisement    on   page    102) 

R.  B.  Annis  Company  (6) 

1505  E.  Michigan  St.,  Indianapolis,  Ind. 

Bell  &  Howell  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    111. 

(Se«  advertisement  on  inside  back  cover) 

Eastman    Kodak    Co.  (4) 

Rochester,    N,    Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
Edited   Pictures  System,  Inc.  (1) 

330   W.   42nd    St.,    New   York   City 
Herman   A.    DeVry,   Inc.  (3,   6) 

1111    Center    St.,    Chicago 

(See   advertisement  on   page   130) 


Holmes  Projector  Co.  (3) 

1813  Orchard  St.,   Chicago 

(See   advertisement   on    page    124) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See    advertisement   on   page    126) 

International   Projector   Corp.        (3,  6) 

90  Gold  St.,  New  York  City 

(See  advertisement  on  inside  front  cover! 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  123) 

National  Camera  Exchange  (6) 

5  South  Fifth  St.,  Minneapolis,  Minn. 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden.   N.    T. 

(See   advertisement   on    page    121) 

Regina  Photo  Supply  ttd.  (3,  6) 

1924   Rose    St.,    Regina,    Sask. 

S.  O.  S.  Corporation  (3,  6) 

1600  Broadway,  New  York  City 

Sunny  Schick,  National  Brokers  (3,  6) 
407   W.   Washington   Blvd. 
Fort  Wayne,  Ind. 

(See    advertisement   on    page    128) 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  System,  Inc.         (2,  5) 
Allegheny   Ave.   at   Ninth   St. 
Philadelphia,  Pa. 

(See   advertisement   on    page    127) 

Victor  Animatograph  Corp.  (6) 

Davenport,   Iowa 

(See   advertisement   on    page    104) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston,  Mass. 

Weber  Machine  Corp.  (2,  5) 

59  Rutter  St.,  Rochester,  N.  Y. 

(See   advertisement   on    page    123) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES 

J.  Greenwald,  Inc. 

681  Lexington  Ave.,  New  York  City 
The  Photoart  House 

844   N.    Plankinton   Ave.,    Milwaukee, 
Wis. 

(See    advertisement   on   page    126) 

POST  CARD  REPRODUCTIONS 

J.  Greenwald,  Inc. 

681   Lexington  Ave.,   New   York  City 

SCREENS 

Da-Lite  Screen  Co. 

2721    N.   Crawford   Ave.,   Chicago 

(See    advertisement   on    page    127) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St..  Philadelphia,  Pa. 
605  Wood  St.,  Pittsburgh,  Pa. 
Motion  Picture  Screen  &  Accessories  Co. 

524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  123) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 
Eastman  Educational  Slides 
Iowa  City,  la. 


A     Trade     Directory 
for  the   Visual    Field 


Edited    Pictures   System,   Inc. 

330  W.  42nd   St.,  New  York  City 
Ideal  Pictures  Corp. 

30  E.   Eighth   St..   Chicago,   111. 

(See    advertisement    on   page    126) 

Keystone   View  Co. 
Meadville,   Pa. 

(See   advertisement   on    page    131) 

Radio-Mat  Slide  Co.,  Inc. 

1819  Broadway.   New   York  City 

(See    advertisement    on    page    126) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  111. 

( See   advertisement  on   page   128) 

Spencer   Lens   Co. 

19  Doat  St.,  Buffalo.  N.  Y. 

(See   advertisement   on   page    125) 

Visual  Education  Service 
470  Stuart  St.,  Boston,  Mass. 

Visual  Sciences 
Suffern,  New  York 

(See   advertisement   on    page    126) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 

STEREOSCOPES 

Herman  A.  DeVry,  Inc. 
1111   Center   St.,   Chicago 

(See   advertisement    on    page    130) 

Keystone  View  Co. 

Meadville,  Pa. 

(See    advertisement    on    page    131) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Eausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See   advertisement    on    page    101) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St..  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 

E.  Leitz,  Inc. 
60  E.   10th  St..  New  York  City 

(See    advertisement   on    page    126) 

Regina  Photo  Supply  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
Society  for  Visual  Education 

327  S.  La  Salle  St.,  Chicago,  111. 

(See   advertisement    on    page    128) 

Spencer  Lens   Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See    advertisement    on    page    12.')) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm    supplies 

36    mm. 

silent. 

(2)   indicates    firm    supplies 

35    mm. 

sound. 

(3)   indicates    firm   supplies 

35   mm. 

sound  and   silent. 

(4)   indicates    firm   supplies 

16   mm. 

silent. 

(6)   indicates    firm    supplies 

16   mm. 

sound-on-film. 

(6)   indicates    firm    supplies 

16    mm. 

sound   and  silent. 

Continuous  insertions  under  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


P«Mie  LNMPAfy 
KftNtat  Cfiy,  Mo. 


<C^  JLCUsX-l-v-;^        VaJM— r-c^ 


Educationa 


COMBINED  WITH 


Visual  Instruction  News 


CONTENTS 


An  Experiment  in  Geography  Teaching 
The  ^^Rebel  Rangers^'  on  School  Journeys 


A  Visit  to  the  New  England  Capes 


Summer  Courses  in  Visual  Instruction 


Single      Copies      25c 
•  $2.00    a    Year  • 


MAY 


10QA 


PROJECTORS  -   DISTRIBUTED     BY    NATIONAL   THEATRE    SUPPLY   COM 


-    s^ 


PORTABLE 


A.OB       MAf\K,     RBC'O 


SOUND  PROJECTORS 

Simplex  Portable  Sound  Projector  and  the  new  Semi-Professi 
Sound  Projector  are  particularly  adapted  to  the  special  rei 
nients  of  small  theatres,  schools,  colleges,  churches,  hotels, 
pitals,  commercial  organizations,  etc.  The  characteristic  car 
accuracy  which  have  given  our  products  an  international  n 
tion  are  maintained  throughout  in  the  manufacture  and  ass< 
of  Simplex  Portable  Sound  Projectors. 

Superior  sound  and  visual  projection  can  be  secured  unde: 
conditions  with  adequate  equipment.    Therefore,  we  give  an 

lute  assurance  that  i 
field  for  which  they  ;i 
tended  the  results  oIm 
with      Simplex      Por 
Sound    Projectors  ar 
actly    the    same   as 
secured  with  Simplex 
jectors  and  Simplex  Aii 
Sound  Projectors  in  '  "' 
sands   of   leading   tli 
throughout  the  world 


PORTylBLE 


THADK        MAfXH.     RKC'o 


SOUND  PROJECTORS 

The  installation  of  motion  picture  equipment  requires 
long  and  serious  consideration  and  we  are  therefore 
pleased  to  receive  inquiries  and  supply  answers  with  a 
full  realization  that  in  many  instances  decisions  cannot  be 
quickly  made. 

Our  products  are  distributed  in  the  United  States  by  the 
National  Theatre  Supply  Company  and  elsewhere  by  rep- 
resentatives who  are  in  a  position  to  supply  full  informa- 
tion regarding  our  products  and  properly  service  Simplex, 
equipment  after  installation.  We  therefore  will  be 
pleased  to  send  you  catalog  and  prices  or  you  may  com- 
municate directly  with  our  dealers  in  your  locality. 


SIMPLEX  SEMI-PROFESSIONAL 
SOUND  PROJECTOR 
2000'  Type  with  Incandescent  Lamp 


INTERNATIONAL  PROJECTOR  CORPORATI 


lay,  1936 


Page  135 


ducational  Screen 

Combined  With 

isual    Instruction    News 


MAY,  1936 

VOLUME  XV  NUMBER  5 


THE  EDUCATIONAL  SCREEN,  Inc. 

DIRECTORATE  AND  STAFF 


Herbert  E.  Slaught,   Pres. 
Nelson  L.  Greene,  Editor 
Evelyn  J.  Baker 
Mary  Beatile  Brady 
F.  W.  Davis 


Stanley  R.  Greene 
Josephine   Hoffman 
F.   Dean   McClusky 
Stella   Evelyn   Myers 
E.  C.  Waggoner 


CONTENTS 

An  Experiment  In  Geography  Teaching. 

James  H.  Halsey 137 

The  "Rebel  Rangers"  on  School  Journeys. 

Robert  Collier,  Jr __.__ 140 

A  Visit  to  the  New  England  Capes.    Paul  T.  Williams 1 42 

The  Church  Field.    Conducted  by  Mary  Beattie  Brady....  144 

The  Filmi  Estimates 1 46 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers ...147 

Summer  Courses  in  Visual  Instruction.. 148 

Department  of  Visual  Instruction. 

Conducted  by  E.  C.  Waggoner ....149 

News  and  Notes.   Conducted  by  Josephine  hloffman 150 

Current  Film  Releases 1 52 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis 154 

School  Department. 

Conducted  by  F.  Dean  McClusky 156 

Among  the  Producers... 1 62 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field....  164 


Contents  of  previous  issues  listed  in  Education  Index, 


General  and  Editorial  Offices,  64  East  Lalce  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  May,  1936  by  the  Edu- 
cational  Screen,    Inc.      Published    every   month   except  July    and   August. 

$2.00  a  Year         (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 


Page  136 


The  Educational  Screen 


-with  exclusive  Projector 
and  Sound  Features 


16 


•*"    REFINEMENii 


mm.  ANIMATOPHONE  embodies  exclusivd 
refinements    that   cannot   be    ignored  .  .  .  ad-i 
\antages   that   have   made   it   the   world's   most 
widely    used,    most    moderately    priced    Souno 
picture   reproducer.     Only    in    ANIMATO- 
PHONE,   for   instance,   will   you   find   POSI- 
TIVE Protection  against  Film  Damage    . 
PERFECT  Simplification  insuring  trouble-free  opera- 
tion and  maintenance  .  .  .  with  decidedly  superior  sound 
and  picture  reproduction!     Model  24  (A.C.)   for  class- 
room and  LARGE  Auditorium.     Model  25  (A.C.-D.C.) 
.  .  .  world's  lightest  and  most  compact  ...  for  classroom 
and  stnall  auditorium.     Write  for  literature    .    .    .    Ask 
for  Demonstration. 

VICTOR  ANIMATOGRAPH  CORPORATION 

DAVENPORT,  IOWA 
NEW  YORK  CITY  CHICAGO  LOS  ANGELES 


Conveniently  housed  in 
two  compact  cases. 


May,  1936 


An  Experiment  in  Geography  Teaching 


Page  137 


By      JAMES       H.       HALSEY 

Instructor  in  Geography,  High  School,  Hammond,  Indiana 


THE  WRITER  had  been  using  motion  pictures 
and  lantern  slides  as  supplementary  teaching  aids 
in  his  high  school  geography  classes  from  the  be- 
ginning of  the  second  semester  in  February  1935. 
There  was  some  doubt  in  his  mind  regarding  the 
])roper  method  of  using  them.  In  order  to  satisfy 
his  own  curiosity  and  to  demonstrate  their  value  a 
small  scale  experiment  was  conducted. 

The  purpose  of  this  experiment  was  twofold.  First, 
to  determine  whether  the  use  of  visual  aids  in  the  con- 
ventional classroom  would  hel])  the  students  acquire 
more  knowledge ;  and  .second,  to  determine  whether 
the  use  of  visual  aids  with  a  modified  teaching  tech- 
nique and  class  plan,  would  be  better  than  using  visual 
aids  in  the  conventional  class  plan. 

"The  Insular  Possessions  of  the  United  States"  was 
selected  as  the  unit  of  instruction  for  this  experiment 
because  it  was  thought  this  subpect  offered  excellent 
opportunity  for  the  use  of  visual  aids.  In  the  course 
of  study  which  was  based  on  the  textbook,  "Geogra- 
])hv — Physical,  Economic,  Regional,"  by  James  F. 
Chamberlain,  approximately  one  week  was  given  to 
this  unit.  Thus  one  school  week  of  five  days.  May  13 
to  May  17,  1935,  was  devoted  to  the  experiment. 

The  three  classes  selected  for  the  experiment  were 
all  taught  by  the  writer  and  they  were  all  doing  the 
same  work.  The  average  age  of  the  students  in  each 
class  was  about  fifteen  and  there  was  approximately 
an  equal  number  of  boys  and  girls.  About  two-thirds 
of  all  those  participating  in  the  experiment  were  mem- 
bers of  the  9-A  class,  and  the  remainder  had  a  10-B 
classification.  In  two  of  these  classes  there  were 
twenty-nine  students,  and  in  the  third  class  twenty- 
two. 

The  first  of  these  classes,  in  which  there  were 
twenty-nine  pupils,  served  as  the  control  group.  The 
instruction  was  carried  on  in  the  usual  method  of 
daily  assignments,  class  recitation  and  dscussion,  and 
supervised  class  study.  No  motion  pictures  or  lan- 
tern slides  were  shown  to  this  group. 

The  second  of  these  classes,  which  also  had  twenty- 
nine  pupils,  served  as  Experimental  Group  I.  The 
instruction  to  this  group  was  similar  to  that  of  the 
control  group  with  the  exception  that  motion  pictures 
and  lantern  slides  were  shown.  Experimental  Group 
I  served  to  test  the  first  objective  of  the  experiment, 
namely,  whether  the  use  of  visual  aids  in  the  conven- 
tional classroom  would  help  the  students  acquire  more 
knowledge. 

The  third  class,  in  which  there  were  only  twenty- 
two  pupils,  served  as  Experimental  Group  II.  The 
instruction  of  this  group  was  radically  different  from 


the  instruction  of  the  other  two.  Experimental  Group 
II  was  given  no  outside  or  homework  assignments,  the 
class  was  conducted  entirely  in  the  informal  lecture- 
discussion  method,  and  the  motion  pictures  and  lan- 
tern slides,  instead  of  the  textbook,  were  the  basis  of 
the  instruction.  This  group  served  to  test  the  second 
objective  of  the  experiment,  namely,  whether  the  use 
of  visual  aids  with  a  modified  teaching  technique  and 
class  plan,  would  be  better  than  visual  aids  in  the 
conventional  class  plan. 

In  order  to  determine  how  closely  these  groups  were 
equated,  according  to  their  general  intelligence  and 
ability  in  geography,  three  com])arisons  were  used. 
First,  their  intelligence  scores  were  foimd ;  second,  a 
standard  test  in  United  States  geography  was  given 
to  them ;  and  third,  they  were  all  given  a  pre-test  on 
the  unit  of  instruction  on  which  the  experiment  was 
based,  "The  Insular  Possessions  of  the  United  States." 
A  comparison  of  these  three  items  is  given  in  tabu- 
lated form  below. 

A  Comparison  of  the  General  Ability 
of  the  Three  Groups 

Means  Used  to  Expert-       Experi- 

Compare   the  Control        mental        mental 

Three  Groups  Group         Group  1      Group  2 

Median   Intelligence 

Scores  106  99  97 

Median  Scores  on  Stand- 
ard Test  in  U.S.  Geog- 
raphy.   Perfect  Score  55>^  53  51>4 
would  have  been  75. 

Median  Scores  on  Pre- 

Test  of  "The  Insular 

Possessions  of  the  U.S."         31  27  23>^ 

Perfect  Score  is  79. 

From  the  foregoing  it  can  be  assumed  that  the 
Control  Group  had  the  highest  general  ability,  the 
Experimental  Group  I  the  second  highest,  and  the 
Experimental  Group  II  the  lowest  general  ability. 
Thus  it  would  naturally  be  expected  that  these  groups 
would  show  a  corresponding  gain  in  any  unit  of  in- 
struction, and  that  their  median  scores  on  the  end-test 
at  the  conclusion  of  this  experiment,  would  be  in  a 
similar  descending  order. 

To  accurately  measure  the  increase  in  knowledge 
of  these  three  classes,  the  same  test  was  used  before 
and  after  the  exjjeriment.  The  test  was  devised  very 
carefully  and  was  of  the  multiple  choice  type  with 
five  possible  answers  for  each  question.  None  of  these 
answers  was  ridiculous  or  so  wrong  that  any  person 
of   average   intelligence   might   be   able   to   choose   at 


Page  138 

once  the  right  one ;  in  fact,  in  ahnost  every  case,  any 
of  the  five  answers  could  reasonably  have  been  select- 
ed as  correct  by  a  person  who  did  not  have  some 
knowledge  of  the  subject.  The  questions  were  almost 
all  factual  instead  of  thought  provoking  as  it  was 
believed  the  former  were  a  truer  test  of  the  infor- 
mation and  knowledge  acquired. 

The  results  of  the  experiment  as  indicated  by  the 
scores  on  the  end-test  are  in  exactly  opposite  order  to 
the  results  that  might  be  expected  to  the  general  abil- 
ities of  the  three  groups.  These  results  show  an  ad- 
vantage for  the  use  of  motion  pictures  and  lantern 
slides,  as  well  as  a  decided  advantage  for  a  modified 
teaching  technique  and  class  plan  in  the  use  of  visual 
aids.  Experimental  Group  II,  having  the  modified 
teaching  technique  and  class  plan,  in  which  the  instruc- 
tion was  based  on  the  visual  aids,  made  the  highest 
scores.  Experimental  Group  I,  which  also  saw  the 
films  and  slides,  but  which  depended  mostly  on  the 
text  and  the  conventional  teaching  methods,  made 
the  second  highest  scores.  The  Control  Group  which 
saw  no  films  or  slides  made  the  lowest  scores.  A  com- 
plete comparison  of  the  pre-test  and  end-test  scores, 
together  with  the  gain  and  the  per  cent  of  gain,  is 
shown  in  the  table  below. 

Tabulated  Results  of  the  Experiment 
Prc-Test  and  Expert-      Expcr'i- 

End-Test  Control        mental        mental 

Tabulations  Group         Group  1      Group  2 

Median  Score  on 
Pre-test  31  27  235^ 


Median  Score  on 
End-Test 

59 

63 

68>4 

Gain  in  Points 
Per  cent  of  Gain 

28 

90% 

36 

133% 

45 
191% 

It  is  significant  that  the  highest  score  on  the  end- 
test,  as  well  as  the  greatest  gain,  was  made  by  Ex- 
perimental Group  II,  which  made  the  lowest  score  on 
the  pre-test  and  showed  the  lowest  general  ability.  As 
was  previously  mentioned,  this  group  had  no  outside 
work  or  daily  home  work  assignments.  Whether  or 
not  the  members  of  this  group  read  their  texts  out- 
side of  class  or  consulted  reference  books  cannot  be 
definitely  known;  at  least  they  were  not  required  to 
hand  in  paper  work  or  be  responsible  for  the  informa- 
tion on  certain  pages  of  the  text.  It  is  presumed  that 
the  information  and  knowledge  they  acquired  was  all 
learned  in  class  with  the  principal  aid  of  motion  pic- 
tures and  lantern  slides.  All  the  lecturing  and  dis- 
cussion in  this  class  was  centered  on  the  visual  aids. 
The  fact  that  this  class  had  seven  pupils  less  than 
the  other  classes  might  have  been  one  of  the  reasons 
for  their  great  gain.  However,  it  is  thought  this  really 
had  little  or  no  bearing  as  it  is  generally  conceded 
there  is  slight  difference  in  teaching  a  class  of  twenty 
or  thirty. 

The  question  naturally  arises  as  to  the  reasons  why 
Experimental  Group  I,  which  had  the  advantage  of 


The  Educational  Screen 

daily  home  work  assignments  and  the  visual  aids,  did 
not  show  the  greatest  gain  or  at  least  the  highest  end- 
test  scores.  One  reason  is  probably  because  a  certain 
amount  of  time  was  lost  in  making  and  explaining  the 
daily  assignments,  and  this  lost  time  prohibited  a  com- 
plete explanation  and  dissertation  of  the  visual  aids. 
Another  reason  Experimental  Group  I  did  not  show  as 
high  results  as  did  Experimental  Group  II,  is  possibly 
due  to  the  fact  that  the  home  work  assignments,  de^ 
signed  to  give  them  a  thorough  and  complete  knowl- 
edge of  the  subject  matter,  may  have  been  done  in  the 
usual  perfunctory  and  disinterested  manner. 

The  second  reason  advanced  for  the  inferior] 
achievements  of  Experimental  Group  I  can  also  be 
ascribed  to  the  Control  Group,  which  made  the  lowest 
scores  on  the  end-test.  In  addition,  however,  it  can 
be  assumed  that  the  greatest  contributing  factor  to  the 
poor  showing  of  the  control  group  is  the  fact  that 
this  group  saw  no  motion  pictures  or  lantern  slides. 

Every  effort  was  made  to  keep  the  three  classes 
from  sensing  that  an  experiment  was  being  conducted 
for  it  was  feared  a  spirit  of  competition  might  have 
seriously  interfered.  It  was  also  thought  the  Control 
Group  might  have  been  disappointed  in  not  being  al- 
lowed to  see  the  films  and  slides  shown  to  the  other 
groups,  so  each  of  the  experimental  classes  was  asked 
not  to  mention  to  anyone  that  they  were  being  shown 
pictures.  As  far  as  it  was  possible  to  ascertain,  none 
of  the  three  classes  was  aware  that  the  others  had  or 
had  not  visual  aids  and  there  was  no  evidence  of  a  com- 
petitive spirit.  The  writer  made  a  particular  effort  to 
see  that  all  the  subject  matter  was  carefully  covered  in 
each  class  and  that  there  was  no  motivation  of  any 
of  the  groups. 

In  addition  to  the  increase  in  knowledge  and  in- 
formation evidenced  by  the  two  experimental  groups, 
there  were  no  doubt  other  advantages  such  as  new  in- 
terests and  attitudes,  none  of  which  could  very  easily 
or  accurately  be  measured.  The  thoughtful  questions 
asked  by  the  students  in  the  two  experimental  groups, 
as  well  as  their  genuine  interest  and  enthusiasm  in  the 
class  work,  are  somewhat  indicative  of  these  advan- 
tages. \\'hether  these  two  experimental  groups  will  re- 
tain more  than  the  control  group  cannot  be  determined 
now.  Former  experimental  evidence  has  shown  that 
teaching  with  the  supplement  of  visual  aids  does  favor 
retention.  It  is  planned  to  check  this  factor  by  testing 
these  three  groups  again  at  the  beginning  of  the  school 
year  in  September.* 

One  of  the  greatest  difficulties  encountered  in  con- 
ducting this  experiment  was  in  securing  the  desired 
motion  pictures  and  lantern  slides.  Those  used  were 
selected  from  a  very  large  offering,  and  with  only  one 
or  two  exceptions  could  they  be  called  entirely  satis- 
factory. That  visual  aids  in  teaching  are  a  decided  ad- 
vantage is  probably  very  evident,  but  until  a  far  great- 


I 


♦Unfortunately  the  September  tests  were  never  given,  as 
Mr.  Halsev  left  Hammond  High  School  in  June  to  join 
the  faculty  of  Morgan  Park  Military  Academy   in  Chicago. 


May,  1936 


Page  139 


er  number  of  really  good  teaching* films  and  slides  are 
produced,  it  would  seem  that  great  strides  in  visual 
education  cannot  be  expected.  The  writer  has  often 
wondered  why  motion  pictures  and  slides  could  not 
be  produced  along  with  the  textbooks  and  one  set  sold 
to  each  school  system  which  adopts  the  text. 

In  summary  of  this  experiment  it  can  be  said  the 
evidence  definitely  shows  that  visual  aids  are  an  advan- 
tage in  teaching,  as  was  shown  by  the  results  with 
Experimental  Group  I.  However,  in  order  to  achieve 
the  best  results  with  visual  aids  the  ordinary  teach- 
ing methods  and  classroom  management  need  to  be 
modified  as  was  shown  by  the  results  with  Experi- 
mental Group  II. 

Just  what  this  modified  teaching  technique  and  class 
plan  is,  and  how  it  functions,  might  be  controversal. 
The  plan  used  with  Experimental  Group  II  was  to 
lecture  at  the  beginning  of  the  class  on  the  subject 
for  that  day.  Then  the  films  and  slides  were  projected 
and  the  various  scenes  carefully  explained  and  elab- 
orated. While  the  pictures  were  being  shown  many 
questions  were  asked  and  very  often  spirited  discus- 
sions occurred.  Always  at  these  moments  the  slides 
were  left  projected  and  the  films  stopped  or  rim  over. 
If  any  time  remained  after  the  pictures  were  shown 
some  of  the  more  difficult  matters  were  again  dis- 
cussed. Whether  this  method  is  the  best  in  using 
visual  aids  is  by  no  means  certain  and  it  is  quite  pos- 
sible that  some  other  plan  might  be  superior. 

The  fact  that  no  outside  or  home  work  assignments 
were  made  in  Experimental  Group  II  should  not  be 
over-emphasized.  To  say  that  a  given  class,  instructed 
with  visual  aids  and  a  modified  teaching  technique,  can 
learn  more  than  a  class  similarly  instructed  but  in 
which  outside  work  is  assigned,  is  of  course  educa- 
tionally unsound.  In  this  experiment.  Experimental 
Group  II  was  given  no  outside  work  merely  to  show- 
that  such  work  is  not  always  necessary  and  that  with 
visual  aids  it  can  be  eliminated  with  no  loss  of 
learning.  Following  are  actual  questions  used  in  test- 
ing the  groups. 

A   General   Study   Of   Our   Insular   Possessions 

1.  Which  of  our  larger  island  possessions  is  in  the  Car- 
ibbean Sea?  (1)  Hawaii  (2)  Guam  (3)  Phillipines  (4) 
Porto  Rico  (5)   Samoa 

2.  Which  of  our  island  possessions  is  approximately  in 
the  middle  of  the  Pacific  Ocean  and  frequently  called 
"The  crossroads  of  the  Pacific?"  (1)  Samoa  (2)  Vir- 
gin Islands  (3)   Guam   (4)   Phillipines   (5)  Hawaii 

3.  Which  of  our  island  possessions  is  closest  to  China  and 
Japan?    (1)    Hawaii    (2)    Guam   (3)    Virgin   Islands   (4) 

Phillipines    (5)    Samoa 

4.  Which  of  our  island  possessions  is  important  only  as 
a  landing  place  for  the  Pacific  cable,  a  coaling  sta- 
tion, and  a  naval  base?  (1)  Porto  Rico  (2)  Hawaii  (3) 
Guam    (4)    Phillipines    (S)    Samoa 

5.  Which  of  our  island  possessions  has  the  greatest  un- 
developed source  of  mineral  wealth?  (1)  Porto  Rico 
(2)  Hawaii  (3)  Phillipines  (4)  Samoa  (5)  Virgin 
Islands 

6.  Which  of  our  island  possessions,  formerly  called  The 
Sandwich  Islands,  and  which  were  first  a  Kingdom  and 


later  a  republic,  asked  to  be  annexed  to  our   country? 

(1)  Hawaii   (2)   Phillipines   (3)    Porto  Rico  (4)   Samoa 
(5)    Virgin    Islands 

7.  Under  what  circumstances  did  United  States  get  con- 
trol of  most  of  its  island  possessions?  (1)  Seizure  by 
force  (2)  Purchased  (3)  .Annexation  (4)  Result  of 
Spanish-American  War  (5)    Land  Trades 

8.  What  is  the  attitude  of  the  United  States  government 
to  its  island  possessions?   (1)    Encourage   independence 

(2)  Dominance    (3)    Exploitation    (4)    Carelessness    (5) 
Valuable   only   as   naval   bases 

9.  On  which  of  our  island  possessions  is  there  a  leper 
settlement?  (1)  Guam  (2)  Porto  Rico  (3)  Samoa  (4) 
Hawaii    (5)    Phillipines 

10.  What  kinds  of  men  are  frequently  chosen  as  governors 
of  our  smaller  island  possessions?  (1)  Army  officers 
(2)  \aval  officers  (3)  Marine  officers  (4)  Officers  of  the 
Counsellor  service  (5)  Political  friends  of  the  Presi- 
dent 

11.  In  which  of  our  island  possessions  are  the  houses 
raised  above  the  ground  because  of  the  extreme  damp- 
ness? (1)  Porto  Rico  (2)  Guam  (3)  Hawaii  (4)  Philli- 
pines   (S)    Samoa 

12.  Why  is  the  climate  in  most  of  our  island  possessions, 
all  of  which  are  in  the  tropical  zone,  described  as 
warm  and  equable  instead  of  hot  and  torrid?  (1)  High 
altitude  (2)  Heavy  rainfall  (3)  Extensive  forests  (4) 
Influence   of  ocean   and   winds    (5)    Low   humidity 

13.  In  which  of  the  island  groups  has  our  system  of  educa- 
tion and  scientific  training  been  most  successful?  (1) 
Phillipines    (2)    Porto   Rico    (3)    Panama    Canal    Zone 

(4)  Guam   (5)    Samoa 

14.  Which  of  the  island  possessions  of  United  States  is 
farthest  away  from  the  mainland  of  our  country?  (1) 
Panama  Canal  Zone  (2)  Samoa  (3)  Porto  Rico  (4) 
Hawaii    (5)    Phillipines 

15.  Which  of  our  island  possessions  is  nearest  to  the 
mainland  of  our  country?  (1)  Virgin  Islands  (2)  Porto 
Rico   (3)    Midway    (4)    Wake   (S)    Samoa 

16.  Which  of  our  island  possessions  is  most  frequently 
disturbed    by    typhoons,    hurricanes,    and    earthquakes? 

(1)  Phillipines    (2)    Hawaii    (3)    Porto   Rico    (4)    Pan- 
ama  Canal    (5)    Samoa 

17.  Which  of  all  our  island  possessions  is  considered  the 
best  naval   base  and   military   outpost?    (1)    Porto   Rico 

(2)  Phillipines  (3)  Hawaii  (4)  Guam  (S)  Virgin  Islands 

A   Study   of   Porto    Rico 

1.  Who  discovered  Porto  Rico?  (1)  Balboa  (2)  Drake  (3) 
Magellan  (4)  Columbus  (5)  DeSoto 

2.  What  is  Porto  Rico's  most  important  export?  (1)  Sugar 
(2)    Rice    (3)    Tobacco    (4)    Bananas    (5)    Pineapples 

3.  What  is  the  most  important  city  in  Porto  Rico?  (1) 
Ponce    (2)    Mayaguez    (3)    Rio   Piedras    (4)    San   Juan 

(5)  St.  Thomas 

4.  Which  word  best  describes  the  climate  of  Porto  Rico? 
(1)   Varied   (2)    Cool   (3)   Hot    (4)   Cold   (5)   Warm 

5.  What   does   Porto  Rico  mean   translated   into   English? 

(1)  Port    of    Rocks     (2)    Port    of    Riots    (3)     Port    of 
Riches   (4)    Port  of  Rice    (S)   Port   of  Robbers 

6.  Which  of  the  following  words  best  describes  the  topo- 
graphy of  Porto  Rico?   (1)  Mountainous  and  Hilly  (2) 

(2)  Extremely  rugged   (3)    Flat  (4)   Rolling  (5)    High 
regular  plateau 

7.  What  state  is  appro.ximately  equal  in  size  to  Porto 
Rico?  (1)  Te.xas  (2)  Connecticut  (3)  Rhode  Island  (4) 
Indiana   (S)    California 

8.  What  kinds  of  people  are  found  in  greatest  numbers 
in  Porto  Rico?  (1)  Negroes  (2)  Mulattoes  (3)  Whites 
(4)Malayans  (5)    Indians 


Page  140 


The  Educational  Screen 


9.  Approximately  what  is  the  population  of  Porto  Rico? 
(1)  100,000  (2)  750,000  (3)  1,500,000,  (4)  3,000,000  (5) 
4,500,000 

10.  What  is  the  leading  industry  in  Porto  Rico?  (1)  Cigar 
making  (2)  Rug  making  (3)  Pottery  making  (4)  Farm- 
ing   (5)    Fishing 

11.  How  has  the  United  States  government  aided  the  Porto 
Rican  industries?  (1)  Provides  free  fishing  vessels  (2) 
reduced  taxes  (3)  Established  experimental  agriculture 
stations  (4)  Sells  American  machinery  at  cost  (5)  Sends 
Porto   Ricans   to   colleges   in  United   States 

12.  In  which  sections  of  Porto  Rico  is  the  rainfall  heaviest? 
(1)  Northern  (2)  Southern  (3)  Eastern  (4)  Western 
(5)     Central 

13.  What  disease  is  most  prevalent  in  Porto  Rico?  (1) 
Cholera  (2)  Malaria  (3)  Hookworm  (4)  Beri-beri  (5) 
Pallagra 

A  Study  of  Hawaii 

1.  To  what  do  the  Hawaiian  Isands  owe  their  origin? 
(1)  Earthquakes  (2)  Coral  growth  (3)  Volcanoes  (4) 
Meteors    (5)    Diastrophism 

2.  How  many  islands  are  there  in  the  Hawaiian  group? 
(1)  One  (2)  Three  (3)  Nine  (4)  Fifteen  (5)  Twenty- 
one 

3.  What   is   the  name  of  the   highest   mountain   in  Hawaii 


which  is  an  active  volcano?  (1)  Mauna  Kea  (2)  Kilauea 
(3)   Molokai   (4)    Mauna  Loa   (5)    Kauai 

4.  Which  word  best  describes  the  climate  of  Hawaii?  (1) 
Varied    (2)    Cool   (3)   Hot    (4)   Cold    (5)   Warm 

5.  Which  part  of  the  Hawaiian  Islands  receives  the  most 
rainfall?  (1)  Northeastern  (2)  Southeastern  (3)  South- 
western   (4)    Northwestern   (5)    Central 

6.  What  is  Hawaii's  leading  export?  (1)  Pineapples  (2) 
Rice    (3)    Sugar    (4)    Cofifee    (5)    Cocoanuts 

7.  What  is  the  most  important  city  in  Hawaii?  (1)  Pearl 
Harbor  (2)  Hilo   (3)  Wakiki  (4)  Honolulu  (S)  Waimea 

8.  How  does  the  area  of  the  Hawaiian  Islands  compare 
with  the  area  of  Porto  Rico?  (1)  One-half  as  large  (2) 
Equal  (3)  Twice  as  large  (4)  Three  times  as  large 
(5)    Five   times    as    large 

9.  Approximately  what  is  the  population  of  Hawaii?  (1) 
100,000    (2)   200,000   (3)    300,000   (4)   400,000    (5)    500,000 

10.  What  nationality  is  most  numerously  represented  in 
Hawaii's  population?  (1)  Chinese  (2)  Japanese  (3) 
F'ilipinos    (4)    Americans    (5)     Europeans 

11.  What  is  Hawaii's  chief  industry?  (1)  Farming  (2) 
Making  flower  girdles  (3)  Mining  (4)  Tourist  trade 
(5)  Making    surf    boards 

12.  In  which  sport  are  Hawaiian  natives  most  proficient? 
(1)  Diving  (2)  Swimming  (3)  Surf  board  riding  (4) 
Rowing    (5)    Canoeing 


The  Rebel  Rangers    on  School  Journeys 


THE  WHISTLE  blows,  a  hurried  check  of  the 
roll  is  made,  and  the  big  thirty-five  passenger  bus 
starts  for  a  week-end  on  a  big  cattle  ranch,  sev- 
enty-five miles  from  Denver.  The  early  part  of  the  trip 
lies  through  the  foot  hills  near  Denver,  an  area  quite 
familiar  to  the  members  of  South  High  School's  Rebel 
Rangers.  As  we  drive  along,  songs  of  every  descrip- 
tion, games  and  the  happy  chatter  of  thirty-five  boys 
and  girls  starting  for  a  week-end  camping  trip,  fill 
the  bus. 

Arriving  at  our  destination  about  noon,  lunches 
which  have  been  prepared  at  home,  are  eaten.  Then, 
places  where  they  expect  to  sleep  at  night  are  chosen 
and  beds  are  prepared.  On  this  trip,  we  have  the 
opportunity  of  sleeping  in  real  Indian  tepees  on  beds 
of  pine  needles  gathered  from  the  nearby  forest. 
While  the  beds  are  being  made,  a  part  of  the  group 
go  for  a  horseback  ride  under  the  leadership  of  an 
old  cowboy  who  is  an  expert  teacher.  Others  of  the 
group  gather  wood,  and  still  others  engage  in  a  game 
of  football  or  baseball,  as  their  tastes  dictate.  During 
the  afternoon  everyone  obtains  a  chance  to  spend  some 
time  on  the  back  of  a  good  Western  horse. 

Supper  is  eaten  as  the  last  rays  of  the  sun  gleam 
behind  Colorado's  mighty  mountains  in  a  gorgeous 
sunset.  When  supper  is  over  and  the  dishes  washed, 
we  gather  inside  one  of  the  big  Indian  tepees  for  a 
period  of  singing  followed  by  entertaining  stories  of 
the  American  Indian  by  our  host,  one  of  America's 
foremost  Indian  authorities.     Then,  an  opportunity  to 


By      ROBERT      COLLIER,      JR. 

Sponsor,    South    High    School,    Denver,    Colorado 

square  dance  in  the  lights  of  the  truck,  softened  by  a 
waning  half-moon.  Finally,  some  more  singing 
around  the  council  fire  before  the  time  comes  to  roll 
up  in  our  blankets  and  go  to  sleep. 

Up  with  the  dawn,  everyone  is  soon  ready  for  a 
good  breakfast  of  fresh  fruit,  oatmeal,  french  toast, 
and  cocoa.  Following  breakfast,  the  bed  rolls  are 
made  and  loaded  in  the  truck,  and  by  that  time  our 
host  arrives  with  sufficient  Indian  head  bonnets  and 
Indian  equipment  to  dress  the  entire  group  in  the 
fascinating,  colorful  dress  of  the  first  inhabitants  of 
our  country.  Several  hours  are  spent  in  learning 
Indian  dances  and  songs  from  our  most  able  teacher. 
Then  for  a  hearty  dinner  of  steak,  salad,  pie  and 
fixings,  and  the  return  trip  is  started. 

Thus,  a  large  group  of  boys  and  girls  of  South 
High  School  have  sjjent  a  week-end  that  they  will 
never  forget  as  long  as  they  live. 

Organized  seven  years  ago.  the  "Rebel  Rangers" 
now  niunber  one  hundred  picked  boys  and  girls  from 
the  student  body  of  South  High  School.  During  the 
school  year,  the  group  makes  about  three  thousand 
miles  in  the  big  Ranger  bus,  going  to  many  of  the 
scenic  and  historic  spots  in  Colorado  for  days  of 
happy  enjoyment  and  the  finest  kind  of  "visual  and 
sensory  education." 

Every  year,  a  trip  is  made  to  the  famous  Carlsbad 
Caverns  located  seven  hundred  and  fifty  miles  from 
Denver  in  the  southeast  corner  of  New  Mexico.  En- 
route  to   Carlsbad,   the   Rangers  visit  such  places  of 


May,  1936 


Page  141 


interest  as  Taos,  with  its  ancient  Indian  Pueblos,  and 
Lincoln,  New  Mexico,  famous  as  the  town  of  Billy 
the  Kid. 

The  question  naturally  arises  in  the  minds  of  par- 
ents and  educators  as  to  how  it  is  possible,  in  these 
days,  to  conduct  a  group  of  boys  and  girls  on  such 
excursions  away  from  school  and  parents.  In  the  first 
place,  when  the  Rangers  were  founded,  certain  ideals 
were  adopted  by  the  boys  and  girls  as  being  essential 
to  such  an  organization.  It  was  agreed  that  there 
would  be  no  pairing  off,  that  under  no  consideration 


The  "Rebel  Rangers"  at  Carlsbad   Caverns 

would  there  be  any  smoking,  that  everyone  would 
stay  with  the  sponsor  in  charge,  and  that  the  actions 
of  every  person,  for  which  they  themselves  were  re- 
sponsible, would  be  beyond  reproach.  These  ideals 
have  been  jealously  guarded  by  the  members  of  the 
group. 

New  members  are  taken  in  annually  by  application, 
signed  by  the  parents  as  well  as  the  applicant  himself. 
These  applications  state  that  the  individual  under- 
stands what  is  expected  of  him  and  that  he  agrees 
to  abide  by  the  rules  of  the  group.  Following  this 
application,  the  applicant  must  go  on  one  over  night 
trip,  during  which  he  is  carefully  judged  as  to  his 
capabilities,  willingness  to  cooperate  and  his  general 
attitude  when  he  is  on  a  trip.  Following  the  "applicant 
trip,"  he  is  voted  upon  by  the  group  as  to  his  fitness  for 
membership.  If  he  is  acceptable,  he  is  taken  into  the 
group  as  a  junior  member,  and  is  given  the  opportun- 
ity to  further  prove  himself  worthy  of  the  right  to 
wear  the  Ranger  insignia  by  remaining  a  junior  mem- 
ber for  four  months.  At  the  end  of  that  time,  he  is 
formally  voted  a  member  of  the  Rebel  Rangers. 

The  activity  of  the  group  consists  of  a  monthly 
get-together  or  party  which  is  usually  held  in  the 
school  gymnasium.  All  sorts  of  games  are  played, 
varying  from  quiet  games  to  the  more  active  games, 
such  as  "Poison",  "Dodge  Ball",  "Swat  to  the  Right", 
and  in  fact,  any  sort  of  a  game  is  enjoyed  which  gives 
the  individual  the  opportunity  to  run  and  yell  to  his 
heart's  content. 

The  Rebel  Rangers  also  have  adopted  the  idea  of 
the  old  fashioned  dances  of  the  Western  Pioneers, 
who,   in  the  long  nights  about  the  camp  fire  after  a 


day's  struggle  towards  the  promised  land  of  gold,  used 
to  enjoy  the  old  fashioned  American  square  dances. 
The  Rangers  have  developed  a  square  dance  exhibi- 
tion grou]),  and  are  constantly  sought  by  various  clubs 
and  organizations.  To  be  chosen  for  this  is  a  signal 
honor  and  competition  is  keen.  These  square  dancers 
have  been  known  to  give  up  invitations  to  college 
farternity  formals  in  order  to  participate  in  such  a 
square  dance. 

Other  activities  that  we  enjoy  were  made  possible 
by  the  purchase  of  the  Rebel  Ranger  bus.  This  big 
thirty-five  passenger  bus  was  found  hidden  away  in  a 
garage  where  it  had  stood  for  five  years  vvithout  turn- 
ing a  wheel.  To  raise  the  necessary  cash  with  which 
to  buy  the  bus,  each  member  contributed  five  dollars. 
This  money  is  refunded  yearly  as  new  members  come 
in  and  old  ones  graduate.  By  the  use  of  the  bus,  we 
constantly  have  transportation  available  for  thirty-five 
boys  and  girls.  We  are  thus  free  from  the  necessity 
of  asking  parents  for  their  automobiles  and  of  the 
danger  involved  by  using  immature  drivers  who  are 
apt  to  have  an  accident  on  the  crowded  highways.  If 
an  individual  does  take  his  car,  he  must  always  stay 
with  the  bus  and  is  under  the  same  regulations  as 
apply  for  those  in  the  bus. 

The  expense  of  a  trip  varies  according  to  the  na- 
ture of  it.  Seldom  do  trips  run  more  than  fifty  cents 
for  a  day  trip  or  more  than  two  dollars  for  a  camping 
trip.  Food  is  provided  for  the  entire  group  and  each 
member  always  takes  his  turn  in  assisting  in  the  prep- 
aration of  meals. 

Many  interesting  activities  besides  these  mentioned, 
are  carried  on.  Our  first  interest  in  the  winter  is 
skiing,  while  skating  and  toboganning  have  their  places. 
Rock  climbing,  with  the  proper  handling  of  ropes,  is 
very  much  in  favor  with  the  boys  and  girls,  if  not 
with  their  more  sedate  parents.  Horseback  riding, 
swimming,  target  practice  on  the  high  school  range 
are  included.  Once  a  year  a  big  dinner  is  held,  at 
which  time  parents  and  friends  of  the  Rangers  are 
invited.  Motion  pictures  have  been  taken  of  the  ac- 
tivities of  the  group  and  these  always  add  consider- 
able interest  to  the  meetings  with  the  parents. 

The  question  arises  as  to  the  value  of  such  a  pro- 
gram. Believing  that  any  sort  of  a  program  which 
can  insure  clean,  wholesome  fun  for  boys  and  girls  of 
high  school  age  is  worthwhile,  and  that  if  our  high 
school  people  can  be  shown  the  fact  that  it  is  not  nec- 
essary to  spend  a  great  deal  of  money  to  have  a  good 
time,  and  that  good  times  are  possible  without  cigar- 
ettes, liquor,  and  the  many  so-called  necessities  which 
accompany  such  activities  of  today,  we  feel  that  such 
an  organization  is  worthwhile.  It  requires  careful 
supervision  on  the  part  of  those  who  are  members. 
Our  boys  and  girls  believe  that  these  good  times  may 
be  enjoyed  if  the  price  is  paid,  and  that  the  price  for 
such  activities  may  be  expressed  in  the  two  words  "Be 
decent". 

Besides  values  of  the  sort  mentioned  above  a  pro- 


Page  142 


The  Educational  Screen 


gram  of  this  sort  furnishes  the  most  wonderful  op- 
portunities to  teach  practical  observation  of  the  many 
things  in  life  to  be  learned  from  nature.  Every  rock, 
tree  and  flovv-er  along  the  trails  that  we  follow  has  a 
story  behind  it.  With  the  opportunities  that  present 
themselves  in  our  Colorado  mountains  our  boys  and 
g^rls  soon  learn  to  make  friends  with  the  small  ani- 
mals, to  recognize  many  of  the  beautiful  wild  flowers, 
to  know  the  evergreen  trees  that  they  find,  and  withal, 


develop  the  most  marvelous  love  and  appreciation  of 
nature  that  it  is  possible  to  obtain.  After  all,  many 
of  us  go  through  life  with  our  eyes  closed  to  the 
beauties  of  nature.  In  a  group  of  this  sort,  it  becomes 
a  matter  of  pride  to  learn  and  know  the  birds,  trees 
and  flowers.  Of  course,  such  training  is  bound  to 
carry  on  further  into  life's  situations  as  they  develop. 
The  activities  of  the  Rebel  Rangers,  in  short,  are 
"School  Journeys"  of  ideal  character  and  value. 


A  Visit  to  the  New  England  Capes 


A  Unit  of  Study  in  Economic  Geosraphy 


THIS  UNIT  has  been  prepared  as  an  aid  to  the 
high  school  teacher  in  assisting  the  pupils  to  a 
better  and  more  thorough  knowledge  of  the  New 
England  capes,  the  people  and  their  industries.  The 
subject  matter  has  been  selected  as  far  as  possible  on 
the  basis  of  its  social  usefulness  and  interest  to  the 
group.  The  objective  underlying  the  preparation  of  this 
unit  is  to  help  the  teacher  realize  the  great  service 
which  visual  aids  rightly  used  in  the  classroom  can  ren- 
der in  arousing  keen  interest  in  the  pupil  and  pro- 
moting natural  learning.  The  spirit  of  the  new  meth- 
ods in  education  is  to  make  use  of  concrete  materials 
so  that  the  learner  is  brought  face  to  face  with  actual 
life  situations.  Visual  instruction  does  not  involve, 
however,  any  drastic  change  in  good  teaching  practice, 
but  merely  the  presenting  of  material  through  the 
"seeing  experience." 

The  scarcity  of  suitable  visual  material  has  been  a 
handicap  un  to  the  present  time.  The  illustrations  in 
the  modern  textbook  are  well  selected  to  represent  ac- 
curacy- and  typical  situations.  However,  the  approach 
to  reality  is  much  more  closely  realized  by  such  visual 
aids  as  the  flat  picture,  maps,  globes,  exhibits,  slides, 
and  motion  pictures  which  are  not  difficult  to  obtain. 

The  set  of  slides,  which  the  author  refers  to  in  the 
teaching  of  this  unit,  were  made  by  him  from  nega- 
tives taken  while  on  a  visit  to  the  New  England  coast. 
These  slides  were  selected  with  a  great  deal  of  care 
and  depict  very  clearly  the  topic  to  which  they  are 
assigned. 

Teaching  Procedure 

The  teacher  should  have  in  mind  the  social  setting 
of  the  unit  and  develop  the  details  only  in  connection 
with  the  background.  The  span  of  attention  of  the 
pupil  is  short.  Each  topic  must  be  made  vital  to  him 
and  a  real  need  for  studying  it  shown.  Simplicity  of 
instruction  and  understanding  for  subject  matter 
should  be  aimed  at  throughout  this  unit  of  work.  The 
immediate  reaction  of  the  pupil  to  a  new  problem  is 
vitally  important.  Each  topic  should  follow  in  such 
a  way  as  to  relate  it  to  the  pupil's  experience,  to  arouse 


By      PAUL      T.      WILLIAMS 

Instructor,    Social    Studies,    High   School,    Ballston   Spa,    New   York 

immediate  curiosity  in  it  and  a  desire  to  learn  more 
about  it. 

In  every  case  the  problem  should  be  presented  with 
an  interesting  approach,  often  in  story  form  followed 
by  the  showing  of  one  or  two  pictures  or  slides.  These 
slides  or  pictures  should  be  selected  very  carefully 
as  to  subject  matter  and  only  a  few  should  be  used 
at  a  time.  These  visual  aids  will  not  reveal  their 
content  at  a  glance.  Each  picture  should  be  carefully 
examined  to  determine  what  questions  it  answers. 
The  title  should  be  carefully  noted.  Facts  unrelated 
to  the  subject  at  hand  should  be  discarded  at  once. 

Visual  aids  furnish  material  for  thought  as  does 
the  printed  page  but  one  great  danger  of  the  printed 
page  is  that  it  usually  does  not  lead  to  imagining. 
These  illustrative  materials  are  designed  to  provoke 
questions  rather  than  answer  them.  They  are  intended 
to  leave  the  pupils  with  much  concrete  material  so 
that  they  will  be  able  to  answer  their  own  questions. 
These  materials  should  be  used  as  a  supplement  to  the 
text  and  not  a  mere  entertainment  for  the  pupils.  The 
motion  picture  has  a  definite  part  in  the  summary  of 
this  unit  in  that  it  brings  together  the  detached 
parts  into  a  single  unit  so  that  the  pupil  gets  a  mental 
grasp  of  the  whole. 

Lesson  I 

The  New  England  coast,  the  ocean,  the  fishing,  the 
boats,  the  people  have  always  been  interesting  to 
people  of  all  ages. 

This  study  of  the  New  England  capes  was  intro- 
duced by  showing  a  picture  of  the  waterfront  at  Glou- 
cester. Massachusetts.  Each  pupil  carefully  studied 
the  content  of  this  picture  which  presented  a  regular 
waterfront  scene  with  its  fishing  wares  and  fishing 
vessels.  They  observed  fish  spread  out  on  long  frames 
in  the  sun  to  dry.  In  the  background  were  marine 
railways  where  the  ships  were  hauled  for  repair,  sea 
gulls  were  flying  out  of  the  harbor  and  in  the  distance 
nets  were  seen  drying  in  the  sun. 

The  teacher  now  showed  a  slide  of  "Half  Moon 
Beach."      He    emphasized    the    various    details    which 


May,  1936 


Page  143 


were  observed  in  this  slide.  He  pointed  out  the  charm 
of  Old  Cape  Ann,  the  natural  beauty  of  its  wooded 
hills  and  the  rugged  and  rocky  shore  line  broken  here 
and  there  with  white  sandy  beaches. 

After  a  brief  discussion  and  comparison  of  the 
physical  features  and  industries  of  this  section  with 
those  of  our  own  locality  the  teacher  gave  a  short  talk 
on  these  sturdy  people  who  for  years  have  gained  their 
living  from  the  great  water  bordering  them.  He  told 
briefly  of  the  hundreds  of  artists  who  visit  this  quaint 
section  yearly  to  paint  these  beautiful  and  indescrib- 
able scenes. 

Next  the  teacher  showed  a  slide  of  a  relief  map  of 
the  New  England  States  and  pointed  out  just  where 
the  capes  are  located.  By  this  time  keen  interest  had 
been  aroused  in  each  individual.  The  pupils  were  now 
eager  to  make  a  further  study  of  this  delightful  sec- 
tion of  the  Old  Bay  State.  With  this  background  the 
teacher  and  pupils  questioned  each  other  as  to  what 
they  should  know  about  the  New  England  capes.  This 
brought  the  teacher  and  class  to  a  discussion  of  ac- 
tivity which  both  understood.  With  this  cooperative 
working  the  following  outline  developed  and  was  writ- 
ten on  the  board. 

A  Visit  to  the  New  England  Capes 
I — Introduction 

A.  A  study  of  capes  in  general 

1.  Definition  of  a  cape 

2.  Location  of  capes 

3.  Importance  of  capes 

II — Industries  of  the  New  England  Capes 

A.  Fishing 

1.  Kinds  of  fish  caught 

a.  Cod      b.  Mackerel      c.  Lobster      d.  Halibut 
e.  Herring    f.  Haddock 

2.  Location  of  the  fisheries 

a.  The  banks — Cape  Cod  to  Newfoundland 

b.  Cape  Hatteras — to  the  banks 

3.  Methods   employed   in   catching 

4.  Preparation   of   the   fish  for   market 

5.  Chief  centers  of  the  fishing  industry 

6.  The   fishing   season 

7.  Importance  of  fishing 

a.  As  an  occupation 

b.  As  a  food 

c.  As  of  economic  value  to  the  country 

d.  As  a  means  of  livelihood 

B.  Shipbuilding 

1.  History 

2.  Natural  resources 

3.  Economic  value 

a.  New  England 

b.  United    States 

C.  Agriculture 

1.  Types 

2.  Lack  of — reasons 

D.  Tourist  trade 

1.  Hotel    and    cottage 

2.  Artist  colony 

E.  Miscellaneous 

III — Geographical  and   historical  points   of  interest 

A.  Bass   rocks 

B.  Dog   Town   commons 

C.  Rockport  granite  quarries 

D.  Norman's  Woe 


E.  Fisherman's  memorial 

F.  Art  galleries 

G.  Cod  fishing  plant 
H.  Sand  dunes 

I.    Essex    ship   yards 

Lesson  II-IV 

The  pupils  were  now  divided  into  groups  and  refer- 
ence materials  assigned  to  each  group.  Each  pupil 
was  assigned  a  definite  part  of  the  outline  for  report. 

Research  Period 

The  teacher  now  had  a  very  definite  part  not  only  in 
helping  the  pupil  interpret  his  problem  but  in  guiding 
him  in  the  selection  of  material  for  the  preparation  of 
his  part  of  the  assigned  outline.  Textbooks  and  illus- 
trative materials  were  used  to  supplement  each  other. 
Textbooks,  maps,  pictures,  slides,  charts,  were  studied 
very  carefully.  The  pupils  found  the  answers  to  their 
assigned  parts  of  the  problem.  The  subject  matter  was 
organized.  Suitable  maps,  pictures,  sHdes  or  charts 
were  selected  by  each  pupil  for  use  in  presenting  his 
topic  to  the  class. 

Partial  Bibliography 
Bulletin.  Come  to  Old  Cape  Ann  in  Massachusetts. 

The     Cape     Ann     Trail.     Chamber     of     Commerce, 
Gloucester.   Free. 
Bulletin.  Massachusetts  the   Sportsman's  Paradise. 
Colonial   Massachusetts. 

Massachusetts  —  Its     Industrial,    Agricultural     and 
Economic  Resources. 
Vacations  in  the  Country. 

Automobile  Route  Map.    Secretary  of  the  Common- 
wealth,  State  House,  Boston,  Massachusetts.  Free. 
Bulletin.  Rockport  Welcomes  You.  Rockport  Board  of  Trade, 

Rockport,  Massachusetts.  Free. 
Colby,   C.   C,   Foster,  Alice.    Economic   Geography   for   Sec- 
ondary Schools.    Ginn,  New  York.  1931.  1.92. 
Dorris,    Anna    Verona.     Visual    Instruction    in    the    Public 

Schools.    Ginn,  New  York.  1928.  2.64 
Eastman  Classroom  Films.    Teachers'  Guide.  No.  11  A.  East- 
man Kodak  Co.,  Rochester,  New  York. 
Films.    Cod.     Visual    Instruction    Department,    Schenectady, 
New  York. 

Mackerel.  Visual  Instruction  Department,  Schenec- 
tady, New  York. 
National  Geographic,  Dec.  1923.    North  Atlantic  Food  Fish. 

National  Geographic,  Washington,  D.  C. 
Slides.     Half  Moon   Beach,   No.   1 

Map,   New   England   States,   No.  2 
The  Harbor  from  East  Gloucester,  No.  3 
The  Shipyard,  No.  4 
Mending   the   Nets,   No.  5 
Lobster  Fishing,  No.  6 
Packing  Codfish,  No.  7 
The  Artist  at  Work.  No.  8 
The  Bay,  No.  9 
The   Artist's    Study,   No.    10 
(Slides  made  by   the   author) 
Stamp,    L.    L.    Intermediate    Commercial    Geography.    Long- 
mans, New  York  1932  5.00 
Staples,   L.   C,   York,   G.   M.   Economic   Geography.    South- 
western Publishing,  New  York.   1934  1.49 
Visual   Instruction   Bulletin.    Department  of   Education,   Co- 
lumbus, Ohio.    Free. 
Whitbeck,  R.  H.  Industrial  Geography.  American   Book  Co., 
New  York.   1931.  1.38 

(To  be  concluded  in  June) 


Page  144 


The  Church  Field 


A  Collese  Dramatic  Club  Enters  The  Movies 


The  Educational  Screen 


Conducted  by  MARY  BEAHIE  BRADY 

Director,    Harmon    Foundation,    New   York   City 


"THE  publicity  departments  of  most  colleges  have 
'  long  been  using  motion  pictures  of  football  games, 
pageants,  and  various  campus  activities  to  arouse  the 
interest  of  prospective  students,  but  few  colleges  have 
awakened  to  the  educational  and  religious  values  to 
under-graduates  which  creative  work  in  motion  pic- 
tures may  otfer.  The  Wesleyan  Players,  dramatic 
club  of  Ohio  W'esleyan  University,  under  the  direction 
of  Professor  R.  C.  Hunter  and  with  the  cooperation 
of  The  Religious  Motion  Picture  Foundation,  has 
recently  participated  in  a  motion  picture  experiment 
directed  in  part  at  the  development  of  these  values. 
The  two-reel  16mm  film  which  they  made  is  a  story 
of  college  life,  The  Education  of  Steve  Smith. 

The  experiment  was  designed  to  test  a  plan  de- 
veloped by  the  Harmon  Foundation  for  the  crafts- 
manlike production  by  an  amateur  group  of  purpose- 
ful motion  pictures  suitable  for  church  use.  In  addition 
to  this  it  was  hoped  that  light  would  be  shed  on  such 
problems  as  preparation  of  suitable  scenarios  by  mem- 
bers of  such  a  group,  the  development  of  a  technical 
staff,  the  amount  of  adjustment  required  for  stage 
actors  to  become  film  actors,  and  the  value  of  the  film 
to  other  organizations.  The  plan,  as  developed,  called 
for  the  production  of  film  versions  of  Biblical  stories 
or  dramatizations  of  young  people's  problems,  all  of 
the  work  from  scenario  writing  to  the  filming  and  edit- 
ing of  the  picture  to  be  done  by  the  young  people 
themselves. 

Obviously  the  production  of  a  film  along  these  lines 
has  good  recreational  value,  since  it  is  an  interesting 
activity  offering  to  an  almost  unlimited  number  of 
people  a  wide  variety  of  outlets  for  creative  energy, 
such  as  writing,  photography,  costuming,  acting  and 
directing.  The  plan  further  sviggests  that  the  entire 
group  carefully  study  the  subject  of  the  picture  before 
the  actual  filming  begins.  For  example,  if  a  Bible  story 
is  to  be  filmed,  a  committee  is  to  be  appointed  to  re- 
port back  to  the  group  on  how  the  best  commentaries 
and  Bible  encyclopaedias  interpret  it.  If  the  story  is  to 
concern  some  problem  common  to  young  peojjle,  they 
are  to  consult  accredited  books  on  the  subject.  The 
actors  may  be  asked  to  prepare  papers  on  the  char- 
acters they  are  to  portray,  explaining  the  motives  of 
the  characters  and  the  significance  of  these  motives 
in  the  development  of  the  story.  Papers  may  also 
be  prepared  by  other  members  covering  costumes, 
scenery,  customs,  and  anything  that  may  aid  in  making 
the  picture  authentic  or  that  will  indicate  what  should 
be  the  major  emphasis  of  the  picture.  All  this  material 


is  to  be  thoroughly  discussed  by  the  group  even  before 
the  scenario  is  completed. 

This  type  of  research  was  suggested  because  it 
was  believed  that  this  work  done  under  the  stimulus 
of  motion  picture  production  would  bring  to  members 
of  the  group  valuable  information,  points  of  view, 
and  experience  which  they  would  not  be  likely  to  gain 
in  other  ways,  and  because  it  would  make  for  au- 
thenticity and  quality  in  the  production.  This  latter 
point  is  important  because  it  is  expected  that  the  com- 
pleted pictures  will  be  made  available  to  other  groups, 
so  that  organizations  with  good  leadership  and  facilities 
for  dramatic  productions  will  be  able  to  share  these 
advantages  with  less  fortunate  groups.  These  groups 
might  be  expected  in  turn  to  add  to  the  value  of  the 
film  by  studying  the  best  ways  of  using  them  for 
educational  and  religious  purposes.  They  may  outline 


Professor   White   and   Steve,   two   characters    from   "The 
Education    of   Steve    Smith" 

subjects  for  discussion,  services  of  worship,  musical 
accompaniments,  or  projects  to  be  carried  out  in  con- 
nection with  the  showing  of  the  film. 

The  plan  was  first  tried  out  in  cooperation  with 
Berea  College  in  1934,  a  short  Biblical  film,  The 
Calling  of  Matthezv,  being  produced.  Results  were  en- 
couraging, but  the  experiment  was  handicapped  owing 
to  the  closely  integrated  academic  and  self-help  pro- 
gram which  makes  it  difficult  to  get  a  considerable 
number  of  students  together  frequently  for  intensive 
work  over  a  short  period  of  time. 

To  repeat  the  experiment  in  a  new  field,  the  Foun- 
dation began  negotiating  with  Professor  Hunter  in 
the  fall  of  1934.  Arrangements  were  made  which  cul- 
minated in  the  production  of  The  Education  of  Steve 
Smith"    in    Mav    1935.    For    various    reasons    it    was 


May,  193  6 


Page  145 


decided  to  produce  a  picture  dealing  with  a  modern 
life-situation.  Students  were  then  requested  to  submit 
stories.  From  these  one  by  Miss  Helene  Stevens  was 
selected  because  it  dealt  with  student  life  and  could 
be  filmed  on  the  campus  without  the  necessity  of  build- 
ing elaborate  sets.  Suggestions  for  scenarization  of  the 
story  were  made  by  the  staff  of  the  Foundation  and  by 
the  staff  of  the  Amateur  Cinema  League. 

The  principal  characters  in  the  picture  are  Steve,  a 
senior,  brilliant  but  self-centered;  his  room-mates,  Bill, 
a  mediocre  student  who  has  to  work  his  way  through 
school,  and  Jerry,  an  unstable  individual  in  need  of 
hel])  which  Steve  could  give  if  he  were  not  so  self- 
centered  ;  Mary,  to  whom  Steve  is  engaged ;  Betty, 
Bill's  "girl-friend" ;  and  Professor  White,  beloved 
head  of  the  Chemistry  Department  who  through  over- 
work has  almost  lost  his  sight.  During  the  course  of 
the  story  Steve  finds  that  Bill,  untalented  though  he 
is,  has  won  the  respect  and  love  of  Betty ;  while  he, 
Steve,  with  all  his  accomplishments,  is  losing  Mary's 
love.  Meanwhile.  Mary  has  been  helping  Professor 
White  by  typing  the  manuscript  of  a  book  he  is  writ- 
ing. Steve  suspects  the  professor  of  turning  Mary 
against  him  and  demands  an  explanation.  Professor 
\\'hite,  realizing  that  Steve's  selfishness  is  causing  the 
estrangement,  flatters  Steve  by  asking  him  to  do  some 
chemistry  research,  the  results  of  which  he  wishes  to  in- 
clude in  his  book.  Through  this  work  Steve  learns  the 
joy  of  'nelping  others.  His  character  changes  and  he 
and  Mary  are  reunited.  While  it  is  not  profound,  this 
story  is  interesting  because  it  was  suggested  and  ap- 
proved by  the  young  people  themselves. 

Production  on  this  jiicture  went  ahead  remarkably 
well  in  spite  of  several  handicaps :  students  were 
busy  preparing  for  examinations ;  Professor  Hunter 
was  working  under  the  strain  of  a  very  busy  schedule : 
assistance  was  hard  to  find  ;  time  allotted  to  the  pro- 
duction was  short :  and  the  entire  group  had  to  learn 
how  to  adajH  itself  to  the  technique  of  motion  pic- 
tures, which  is  quite  different  from  that  of  the  stage. 
In  the  theatre  the  audience  looked  at  them  from 
across  the  footlights,  but  in  this  production  the  cold 
eye  of  the  camera  might  watch  from  above,  below,  or 
on  either  side. 

Unfortunately  there  was  not  sufficient  time  for 
the  group  to  study  the  problems  and  situations  of  the 
story  as  thoroughly  as  called  for  by  the  plan,  but  var- 
ious students  were  asked  to  comment  on  the  charac- 
ters. They  were  unanimous  in  saying  that  they  knew 
many  students  who  corresponded  to  those  in  the  film, 
and  that  the  problems  presented  were  typical  of  col- 
lege life — a  high  compliment  to  the  author  of  the 
story. 

To  facilitate  this  first  production,  the  writer  of  this 
article  was  sent  by  the  Foundation  to  help  polish  up 
the  scenario  and  do  the  photography.  Professor  Hunter 
assigned  tasks  and  directed  the  action  with  excellent 
results.    Though    the    filming   required   approximately 


two  weeks,  a  large  part  of  the  work  was  done  evenings 
and  week-ends  so  as  not  to  interrupt  class  attendance. 
Since  the  club  wished  to  show  the  picture  at  com- 
mencement time,  a  rush  job  of  editing  is  done. 
Since  that  time  the  film  has  been  re-edited  and  reduced 
from  the  original  three  to  two  reels.  Suggestions  for 
a  musical  accompaniment  have  also  been  prepared. 

The  results  of  this  experiment  may  be  summed  up  as 
follows :  production  of  a  film  should  be  carried  on  over 
a  considerable  period  of  time — say  a  semester,  if  best 
results  are  to  be  obtained  under  the  plan  outlined 
above ;  suitable  scenarios  can  be  prepared  by  an  ama- 
teur group,  but  until  the  group  has  become  more  ex- 
perienced, it  will  probably  need  to  seek  some  outside 
assistance  especially  in  regard  to  technical  details; 
the  same  would  apply  to  technical  work  on  the  film — 
lighting,  photography,  and  editing,  if  it  is  expected 
that  the  picture  will  be  used  by  other  groups ;  the 
transition  from  stage  technique  to  motion  picture 
technique  is  not  too  difificult  if  the  problem  is  ap- 
proached intelligently.  The  biggest  danger  is  a  tendency 
to  over-act — but  this  danger  is  common  to  all  amateur 
(as  well  as  to  many  professional)   theatricals. 

It  is  hoped  that  The  Education  of  Steve  Smith  will 
prove  the  forerunner  of  other  pictures  to  be  produced 
independently  by  Wesleyan  Players  and  by  other 
college  dramatic  clubs.  The  suggestion  has  been  made 
that  future  productions  be  made  in  cooperation  with 
the  English  and  Bible  Departments,  the  one  giving 
guidance  in  scenario  preparation  and  the  other  giving 
suggestions  regarding  the  selection  and  interpretation 
of  religious  themes.  Conceivably  this  help  could  be 
given  in  courses  which  students  might  take  for  credit. 

It  is  too  early  at  the  present  time  to  judge  the 
full  value  of  these  experiments  but  the  least  that  can 
be  said  is  that  they  have  resulted  in  excellent  pictures 
in  which  ministers  find  a  helpful  approach  to  young 
people's  problems. 

By      WILLIAM      L.      ROGERS 

Missions  in  Syria  to  be  Filmed 

The  continuing  interest  in  the  Board  of  Foreign 
Missions  of  the  Presbyterian  Church  in  the  U.S.A. 
in  the  use  of  motion  pictures  as  an  aid  in  making  real 
to  the  members  of  that  denomination  the  work  of  its 
world  missions  is  indicated  in  the  current  program  of 
Dr.  James  E.  Detwiler,  secretary  of  the  Board,  with 
offices  in  Chicago.  Dr.  Detwiler  left  this  country 
in  September  for  the  Far  and  Near  East  and  re- 
turned in  April.  While  in  Syria  he  made  a  study 
of  the  condition  of  Presbyterian  missions  in  tha^ 
country. 

An  important  part  of  his  program  includes  the  film- 
ing of  motion  pictures  as  well  as  the  making  of  still 
photographs,  which  will  be  edited  into  programs  for 
church  use  on  his  return.  Dr.  Dewiler  had  with  him  a 
35  mm.  silent  Eyemo  camera. 


Page  146 


The  Educational  Screen 


The  Film  Estimdtes 


Biff  Brown  'Eyes  (Gary  Grant,  Joan  Bennett) 
(Para.)  Well-knit,  intriguing  yarn  about 
smooth  gang  of  crooks  vs.  engaging  cop  and 
manicurist-heroine  who  knows  "all  the  an- 
swers". Fast,  suspenseful,  but  human  inter- 
est lessened  by  cheap  smartness  and  wholly 
wisecrack  dialog  throughout-  4-21-36 

(A)  Gd.  of  kind   (Y)  Mostly  gd.   (C)  Not  the  best 

Ex-Mrs.  Bradford  (Wm.  Powell,  Jean  Arthur) 
(RKO)  Delightfully  amusing  detective-murder- 
mystery  with  deft  comedy  dominant  over 
thrills.  Ex-wife,  an  engaging  mystery  addict, 
merrily  helps  and  hinders  her  amateur-detective 
medical  ex-husband  to  final  solution  and  happy 
remarriage.  5-5-36 

(A)  Very  good       (Y)  Excellent      (C)  Prob.  good 

Captain  January  (Shirley  Temple.  Guy  Kib- 
bee)  (Fox)  Appealing  story  of  old  light-house 
keeper  and  little  girl  he  rescued.  Comic  strug- 
gle with  truant  officer,  despair  over  separation 
and  lost  job^  but  rich  relatives  save  day. 
Shirley's  engaging  "stunts"  can  be  overdone. 
She  is  first  an  actress.  4-21-36 

(A)  Entertaining    (Y)  Very  good    (C)  Excellent 

Chatterbox  (Ann  Shirley,  Phillips  Holmes) 
(RKO)  Ultra-naive  Vermont  country  girl, 
hopelessly  stage-struck,  stows-away  to  city  in 
hero's  rumble  seat,  but  is  cruelly  disillusioned 
by  her  first  role  in  his  cheap  road  company. 
So  back  home  with  hero.  Harmless  banality 
of  no  distinction.  4-28-36 

(A)  Mediocre        (Y)  Perhaps        (C)  No  interest 

The  Country  Beyond  (Paul  Kelly,  Rochelle 
Hudson)  (Fox)  Typical  Mountie  stuff  of  the 
frozen  north — furs,  guns,  heavy  villains,  he- 
man  heroes,  heroine  in  peril,  and  St.  Bernard 
dog  all -important.  Scenery  fine,  action  tense, 
acting   adequate,   and   falsities   pass   unnoticed. 

5-5-36 
(A)  (Y)  Fairly  good  (C)  Perhaps 

The  Divine  Flame  (Marta  Eggerth,  Philips 
Holmes)  (Gaumont-British)  Historical  romance 
on  life  of  composer  Bellini,  with  much  classi- 
cal music  none  too  well  rendered.  Quite 
exotic  in  manner,  atmosphere  and  settings, 
but  hero's  role  absurdly  over-sentimentalized 
by  Holmes.  4-14-36 

(A)  Passable  (Y)  Fair  (0)  No  interest 

Everybody's  Old  Man  (Irvin  Cobb)  (Fox) 
Fairly  plausible  story  of  rival  firms,  with  Cobb 
as  sentimental  old  business  genius  who  saves 
the  heavy-drinking  younger  generation,  puts  it 
to  work,  runs  both  firms  successfully,  and  reg- 
ulates conduct  and  romance  for  all  concerned. 
Homely  realism.  4-21-36 

(A)  Rather  good     (Y)  Amusing     (C)  Little  int. 

Great  Ziegfeld  (Wm.  Powell)  (MGM)  Gorg- 
eous 3-hour  spectacle  glorifying  career  of  great 
Broadway  producer.  High  spots  of  life  finely 
dramatized,  scenes  from  his  productions  screened 
in  splendor.  His  dazzling  success,  despite  wild 
extravagance,  a  bit  disorganizing  for  many 
minds.     Extraordinary  film.  4-14-36 

(A)  Notable  (Y)  Doubtful  (C)  No 

I  Married  a  Doctor  (Pat  O'Brien)  (1st  Natl) 
Excellent  adaptation  of  "Main  Street"  with 
fine  character  values  and  intelligent  comedy 
Vain  efforts  of  city  wife  of  country  doctor  to 
bring  culture  to  his  town  make  very  human 
drama   and  lead  to  equally  human  conclusion. 

5-5-36 
(A)  Interesting       (Y)  Good       (C)  Little  interest 

King  of  the  Damned  (Conrad  Veidt,  Noah 
Beery)  (British  -  Gaumont)  England  does  a 
"Devil's  Island"  picture  to  out-Hollywood  its 
predecessors.  Grim  cruelties  and  tortures  drive 
bestial  prisoners  to  revolt  against  inhuman 
masters  with  gory  results.  Hectic,  harrowing, 
unrelieved.  4-28-36 

(A)  Depends  on  taste  (Y)  (C)  Decidedly  not 

The  Leathernecks  Have  Landed  (Lew  Ayres) 
(Columbia)  More  doings  of  the  "Marines", 
well  told  and  acted,  laid  in  Shanghai.  Woman- 
chasing,  fight-loving  hero  gets  into  impossible 
situations  and  out  again  bv  impossible  he- 
roics. Villainy,  treachery,  wholesale  machine- 
gun  slaughter,  etc.  4-14-36 
(A)  Depends  on  taste        (Y)  Thrilling        (C)  No 

Little    Lord    Fauntleroy     (F.     Bartholomew) 

(UA)  Practically  perfect  screening  of  the  clas- 
sic loved  by  millions  for  half  a  century,  of  the 
little  American  who  fell  heir  to  an  English 
earldom.  Freddie  inimitable,  cast  ideal,  pre- 
senting with  compelling  sincerity  and  truth 
this  sentimental   ma-^terpiece.  4-14-36 

(A)  Charming         (Y)  Excellent  (C)  Perfect 


Being  the  Combined  Judgments  of  a  National  Committee  on  Current  Theatrical  Rims 

(The   Fi'm   Estimates,   In  whole  or  in   part,   may  be   reprinted 

only  by  special   arrangement  with  The   Educational   Screen) 

Date    of   mailing    on    weekly    service    is    shown    on    each    film. 

(A)  Discriminating   Adults  (Y)  Youth  (C)  Children 


Message  to  Garcia  (Beery,  Boles,  Stanwyck) 
( Fox )  Tense  adventure-melodrama  piling  up 
perils,  pains,  tortures,  impossible  dilemmas  and 
escapes,  killings,  burlesque  comedy  and  ro- 
mance in  Cuban  jungles.  Artificial  thrills, 
posing  as  history,  much  overdone.  Title  im- 
pertinent, dialog  banal.  4-21-36 
(A)  Depends  on  Uste             (Y)  No  (C)  No 

Moonlight  Murders  (Leo  Carrillo,  Chester 
Morris)  (MGM)  Elaborate  opera  rehearsal  in 
Hollywood  bowl,  much  II  Trovatore  music,  a 
"mercy  killing'*,  another  murder  and  a  built- 
in  romance,  make  a  confused  concoction  more 
puzzling  than  thrilling.  Another  ofTering  to 
mystery  addicts.  4-28-36 

(A)  Fair  of  kind  (Y)  Not  the  best         (C)  No 

The  Moon's  Our  Home  (Margaret  Sullavan, 
Henry  Fonda)  (Para)  Deft,  whimsical  romance 
satirizing  temperament  of  hero  and  heroine, 
mostly  delightful  fun.  Fonda  effective,  Sulla- 
van utterly  charming,  as  lovers  who  "out- 
burst" a  bit  too  often  but  still  keep  gay, 
colorful   and  convincing.  4-28-36 

(A)  Good         (Y)  Amusing         (C)  Little  interest 

Mr.  Deeds  Goes  to  Town  (Gary  Cooper,  Jean 
Arthur)  (Columbia)  Unique  young  country  hero 
inherits  wealth,  beset  by  schemers,  outwits 
them  by  native  wit  and  good  sense.  Character 
comedy  at  its  best,  human,  w^holesome,  irre- 
sistibly funny,  with  a  delightful  romance  that 
really  belongs  in  the  plot,  4-28-36 

(A)  Excellent        (Y)  Excellent        (C)  Very  good 

Murder  on  the  Bridle  Path  (J.  Gleason,  H. 
Broderick)  (RKO)  Leisurely  little  mystery  that 
rambles  comfortably  and  amusingly  to  solution 
by  Helen  Broderick  more  than  b.v  cocky  but 
dumb  inspector,  Jimmy  Gleason.  No  extrava- 
gant thrills  but  quite  sufficiently  puzzling 
throughout.  5-5-36 

(A)  (Y)  Fairly  amusing  (C)  If  it  interests 


Paddy  O'Day  (Jane  Withers)  (Fox)  Little 
Irish  immigrant,  brogue  intermittent,  with 
more  cleverness  than  charm,  after  adventures 
more  picturesque  than  plausible  becomes  ward 
of  freakish  people  who  are  mere  caricatures. 
Bizarre  rather  than  humorous.  Many  laughs 
for  the  uncritical.  4-28-36 

(A)  Depends  on  taste    (Y)  (C)  Prob.  very  amus. 


Pap'c  on  the  Air  (Lew  Avres>  fCo'umbia) 
Mild  little  mystery,  of  young  radio  announcer 
stumbling  on  oddly  marked  five  doHar  bill. 
Chase  for  it  leads  him  to  solve  murder,  save 
and  win  heroine  innocently  involved-  Medi- 
ocre acting  and  direction,  but  harmless  and 
pleasantly  puzzling.  4-14-36 

(A)  Hardly  (Y)  Fair  (C)  Fair 


Petticoat  Fever  (R.  Montgomery,  Myrna  Lov) 
(MGM)  Lone'y,  isolated  radio-station  keeper  in 
ice-bound  Laborador  finds  thrilling  romance 
when  heroine's  plane  crashes  nearby.  Comedy 
complications  with  elderly  fiance  finallv  solved. 
Fairly  convincing  despite  artificiality  and 
hero's  over-acting  at  times.  4-21-36 

(A-Y)  Fairly  amusing  (CI  No  interest 


Rhodes,  the  Diamond  Master  (Walter  Huston 
and  foreign  cast)  (G-B)  Masterpiece  from 
England,  one  of  finest  historical  pictures  ever 
made.  ActinEr.  direction,  backgrounds  superb. 
Will  make  Rhodes  the  Empire  Builder  live  for 
millions.  History  as  it  should  be  screened. 
A   great  film.  4-28  36 

(A)  Excellent  (Y)  Excellent  (C)  Matnrelnitgood 


Silly  Billies  (Wheeler  and  Woolsey)  (RKO) 
Usual  burlesque  nonsense  and  crude  hokum, 
with  utterly  crazy  plot  about  two  vagabond 
crooks,  o'd  stage  coach,  holdups  and  Indian 
fights,  fake  dentistry,  and  heavy  drinking. 
Ranges  from  funny  to  silly  to  downright 
stupid.     Title  perfect.  4-21-36 

(A)  Absurd  (Y)  Poor  (C(  Doubtful  value 


Singing  Kid  (Al  Jolson.  Cab  Calloway)  (1st 
Nat.  I  Much  so-called  "music"  and  "singing" 
by  Jolson  and  Calloway,  vaudeville  and  dance 
hodge-podge,  with  slight  plot  partly  pleasing. 
partly  cheap.  Includes  all  AI's  songs,  old  and 
new.  difference  imperceptible.  Lively  fun  for 
Jolson   addicts.  4-21-36 

(A)  Dep.  on  taste  (Yl  Prob.  gd.  (C)  Little  value 

Small  Town  Girl  (Janet  Gaynor.  R.  Taylor  i 
(MGM)  Breezy,  wisecrack  comedy  of  hard- 
drinking  playboy — supposedly  a  great  surgeon 
also — and  charming  small-town  girl,  their  "gin 
marriage",  and  a  novel  situation.  Amusing, 
but  of  dubious  value  and  much  dramatic 
falsity.  4-21-36 

(A)  Fair  ( Y)  Not  the  best  (C)  No 

Sutter's  Gold  (Ekiw.  Arnold.  Binnie  Barnes) 
(Univ.  I  Elaborate,  ponderous  attempt  at  his- 
torical epic  of  early  California,  too  episodic 
to  be  dramatic,  more  pretentious  than  effec- 
tive, and,  with  climax  in  the  middle,  unre- 
lievedly  depressing  to  the  end.  Waste  of  able 
acting  and  striking  sets.  4-14-36 

(A)  Dull  (Y)  No  (C)  No 

Things  to  Come  (All  English  production) 
(UA)  H.  G.  Wells*  vision  of  supercivilization 
to  come  after  our  present  one  is  annihilated  by 
modern  war,  masterfully  screened  by  Alexander 
Korda.  Masterpiece  of  compelling  spectacle, 
colossal  sets  and  absorbing  action.  Unique  to 
date.  5-5-36 

(A)  Outstanding        (Y)  Thrilling        (C)  Mature 

Three  Women  (USSR  production,  ample  Eng- 
lish titles)  (Amkino)  Exceptional  Russian  film 
of  strong  human  appeal,  notably  acted,  free 
from  usual  propaganda.  Three  girls  rise  from 
slum  squalor  and  benightedness  to  war  hero- 
ism. Merits  outweigh  slow  tempo  and  over- 
done close-ups.  5-5-36 
(A)  Notable                            (Y)  (C)  Little  interest 


Till  We  Meet  Again  ( Herbert  Marshall, 
Gertrude  Michael)  (Para)  Notably  good  spy- 
story  of  Great  War,  English  hero  and  Austrian 
heroine  as  enemy  spies,  but  deeply  and  genu- 
inely in  love.  Thrilling  romance,  never  tawdry, 
finely  staged,  acted  and  directed  in  perfect 
balance.  5-.^-:^6 

(A)  (Y)  Fine  of  kind  (C)  Hardly  suitable 


Times  Square  Playboy  (Broadway  Playboy* 
(W.  William)  (Warner)  Ultra-rich  playboy's 
wedding  with  cabaret  singer  nearly  thwarted 
by  well-meaning  country  friend.  (Same  as 
Home  Towners,  first  "all-talkie",  1928).  Mostly 
lively  fun,  but  overplay  of  wealth  and  over- 
done dialog  and  action  detract.  5-5-36 
(A)  Fairly  amusing      (Y)  Perhaps      (C)  Hardly 


Tough  Guy  (Jackie  Cooper,  J.  Calleia) 
(^MGM)  Exciting  melodrama  with  much  vio- 
lence and  shootings,  and  sentimental  reform 
of  gangster  by  runaway  boy  and  dog  incredi- 
ble. But  major  content  human  and  appealing, 
and  Rin  Tin  Tin  Jr's  doings  are  utterly  en- 
gaging. Typical  Jackie  Cooper  role.  4-14-36 
(A-Y)  Good  of  kind  (C)  If  not  too  exciting 


The  Voice  of  Bugle  Ann  (Lionel  Barrymore) 
(MGM)  Intensely  appealing  story  of  some  very 
human  people  and  the  great  part  played  in 
their  lives  by  affection  for  and  from  a  dog. 
Outstanding  role  by  Barrymore.  a  sincere  ro- 
mance, an  adorable  dog,  make  fine  emotional 
entertainment.  4-14-36 

(A-Y)  Fine  of  kfnd     (C)Gd.  unless  too  emotional 


The  Witness  Chair  (Ann  Harding,  Walter 
Abel)  (RKO)  Mostly  a  long  murder  trial,  end- 
less witnesses,  flashback  narratives,  and  much 
padding,  until  heroine  declares  her  guilt  known 
to  audience  from  the  start.  Excellent  acting  by 
Ann  Harding,  plot  interest  tense  at  times,  but 
story  content   inadequate.  4-28-36 

(A)  Disappointing       (Y)  Not  the  best       (C)  No 


MrtT,  J936 


Page  147 


Among  the  Magazines  and  Books 


The  School  Executive  (55:215-217,  Feb.  '36)  "The 
Audio-Visual  Studio,"  by  Max  R.  Brunstetter. 

Those  considering  adapting  classrooms  to  projec- 
tion purposes,  or  appropriating  a  single  room  for  this 
purpose,  should  find  this  presentation  most  helpful. 
Several  complete  diagrams  elucidate  the  descriptive 
matter.  "Very  often  the  administrator's  eiifort  to  in- 
tegrate the  use  of  slides  and  silent  films  with  the  edu- 
cational program  failed  because  classrooms  were  not 
equipped  so  that  these  devices  could  be  readily  used 
by  the  teacher.  If  educational  talking  pictures  are  to 
function  as  an  integral  part  of  a  school's  program,  it 
follows  that  their  use  must  be  made  just  as  simple  and 
easy  for  the  teacher  as  the  use  of  maps,  globes,  and 
books." 

Under  "Standards  for  the  Studio",  the  following 
topics  are  considered :  "Central  Location,"  "Maximimi 
Utilization,"  "Seating  Arrangements,"  "Darkening 
Facilities,"  "Special  Equipment,"  "Wiring  System," 
"Acoustic  Conditions,"  and  "Heating  and  Ventila- 
tion." 

Church  Management  (12:235-236.  Feb.  '36)  "Mo- 
tion Pictures  for  the  Church,"  by  Dorothy  Fritsch 
Bortz. 

This  very  full  list  of  sources  for  religious  films, 
with  rental  prices,  should  be  of  great  aid  to  church 
organizations.  Suggestions  for  using  motion  pic- 
tures, in  a  religious  visual  education  program,  as 
given  by  the  Bureau  of  Visual  Instruciion  of  Iowa 
State  College,  are  quoted.  They  pertain  to:  1.  Pre- 
viewing the  film  so  that  scholars  may  be  told  be- 
forehand what  items  should  be  stressed  in  their  ob- 
servation ;  2.  Stressing  selective  seeing,  so  that  im- 
portant things  may  be  given  an  important  place ; 
3.  Using  a  short  detailed  film  requiring  not  more 
than  fifteen  minutes. 

Intercine  (7:11-14,  Dec,  '35)  "The  Cartoon  and 
the  Tradition  of  Creative  Arts  in  Motion  Pictures", 
by  Jan  Kucera. 

The  thesis  is  maintained  that  cartoons  directly  con- 
tinue the  tradition  of  creative  arts.  Motion  is  form 
changing  in  time,  by  way  of  a  static  picture.  Pictures 
mav  be  either  centrifugal  or  centripetal  in  their  dynamic 
tendency.  All  primitive  and  primitivistic  art  is  of  the 
former  type,  "looking  for  more  and  more  space,  which 
they  tend  to  fulfil,  to  absorb  and  thereby  gain  their 
part  of  time."  Rarely.,  however,  does  one  or  the  other 
of  these  types  prevail.  "They  mix  either  halfway  or 
so  that  either  one  of  them  prevails.  .  .  In  motion  pic- 
tures we  find  both  inner  and  outer  dynamical  forces." 
During  the  Gothic  period  in  art.  the  detail  often  be- 
came the  most  important  part,  giving  the  key-note  to 
the  interpretation  of  the  work  as  a  whole. 


Conducted  by  STELLA  EVELYN  MYERS  I 

Although  there  is  much  that  sounds  analytical  and 
philosophical  in  this  article,  the  reviewer  confesses  in- 
ability to  get  a  continuity  of  reasoning  from  the  pre- 
sentation. The  probability  is  that  the  author's  disser- 
tation is  discounted  through  a  poor  translation,  in 
which  English  words  are  used  without  the  spirit  of 
the  English  language.  Or,  the  author  may  be  think- 
ing in  his  native  tongue  and  then  using  English  words. 
In  either  case,  we  hold  that  for  international  purposes 
the  best  possible  expression  should  be  made  in  the 
language  in  which  the  thought  is  printed. 

Educational  Method  (15:264-269,  Feb.  '36)  "The 
Lantern  and  Slide  as  a  Teaching  Device,"  by  Ella 
M.  Probst. 

Eight  years  ago,  Calhoun  School  in  Minneapolis 
had  only  one  stereopticon  in  the  building.  Today, 
the  school  owns  nine  daylight  lanterns,  and  tw^o 
other  projectors.  Various  uses  of  slides  are  treated, 
covering  particularly  the  use  of  slides  for  tests,  and 
the  making  of  colored  ink  slides  for  correlation  with 
literary  studies. 

National  Board  of  Review  Magazine  —  Special 
Visual  Education  Number. 

(11:  13-14,  Feb.  '36)  "Educational  Audio  Film 
Production",  by  D.  V.   C.  Arnspiger. 

The  author  maintains  that  the  main  outcome  of 
the  entertainment  picture  is  of  an  emotional  and 
transitory  nature;  that  the  outcome  of  the  educa- 
tional picture  is  intellectual  experience  and  con- 
tributes significantly  to  permanent  learning  if  the 
picture  has  been  properly  produced  and  is  properly 
utilized.  The  limitations  to  learning  in  the  ordi- 
nary situation  are  re-counted  and  the  way  in  which 
the  motion  picture,  made  dynamic  with  sound, 
overcomes  these  limitations  is  pointed  out.  An  edu- 
cational talking  picture  "involves  extended  confer- 
ences between  persons  responsible  for  the  philoso- 
phy of  education,  for  methods  of  teaching,  for  cine- 
ma techniques  and,  of  course,  the  subject  matter 
specialist.  Each  film  must  be  a  part  of  a  larger  pro- 
gram or  a  unit  of  instruction."  Elements  suited  for 
reading  or  group  discussion,  lecture,  field  trip  or 
laboratory  must  be  eliminated.  The  use  of  talking 
pictures  in  Adult  Education  is  as  yet  virtually  un- 
explored. 

(11  :  7-11,  Feb.  36)  "Problems  of  Developing  Vis- 
ual Education  in  a  School  System,"  by  Claude 
Hardy.  A  school  superintendent  elucidates  five 
criteria  for  determining  upon  the  purchase  or  rental 
of  films  for  a  school  system,  among  which  are  adap- 

(Coiicludcd  on  page  160) 


Page  148 


The  Educational  Screen 


lummer   Courses   in   Visual    Instruction 


Institution 
California 

University  of  South- 
ern California, 
Los   Angeles 


Colorado 

Colorado  State 
College,    Greeley 

University  of  Colo- 
rado, Boulder 

University   of 
Denver,    Denver 

Illinois 

University   of 
Illinois,  Urbana 

Iowa 

Iowa  State  College, 
Ames 

Kansas 

State    Teachers 
College,  Pittsburg 

University   of 

Wichita,    Wichita 

Kentucky 

University  of  Ken- 
tucky,  Lexington 

Massachusetts 

Boston  Teachers 
College,  Boston 

Boston    Univer- 
sity,  Boston 

Minnesota 

State  Teachers 
College,  Moorhead 

State  Teachers 
College,    Winona 

University  of  Minne- 
sota,   Minneapolis 

New  Jersey 

State   Normal 
College,  Montclair 

State   Normal 
College,   Trenton 

Rutgers  University, 
New    Brunswick 

New  York 

State   Normal 

School,  New  Paltz 

Teachers   College, 
Columbia    Univer- 
sity,   New-  York 
City 


New    York   Univer- 
sity,   New    York 
City 


Title  of  Course 

Visual  Aids  in  Edu- 
cation 

Educational    Films 

History  of   Motion 
Pictures  as  Art 
and   Technique 

Fundamentals  of  Mo- 
tion Picture  Pro- 
duction and  Motion 
Picture  Story  and 
Continuity 

Visual   Education 

Visual    Aids 
Education   through 

Motion  Pictures 
Vitalizing  Instruction 

through  Visual 

Aids 

Visual  and  Auditory 
Instructional   Aids 

Lecture — demonstra- 
tions on  Visual  Aids 

In  connection  with 
"Biology    Methods" 
Visual-Sensory   Aids 
in   Teaching 

Visual    Instruction 


Instructor 
Fred  W.   Orth 
Fred  W.   Orth 
B.   V.  Morkovin 
W.   Cummins 


Lloyd    Aspinwall 

Lelia    Trolinger 
Lelia    Trolinger 

E.  H.  Herringtou 


Recent   Trends    in 

Education 
Visual    Education 


Russell  T.  Gregg 

H.  L.  Kooser 

J.  A.  Trent 
W.   A.    Bonwell 

Louis   Clifton 

J.  A.  Hennessey 
Howard  LeSourd 


Supervision    through     C.   P.   Archer 
Visual  Aids 


Visual  Aids   in 

Teaching 
Visual    Aids    in 

Teaching 

Visual  Course  for 

Teachers 
Visual  Course  for 

Teachers 
Visual    Instruction 


Visual  Aids  in 
Education 

Materials   and   Meth- 
ods   in   Visual    and 
Auditory  Education 
also 

Research    in    Visual 
and  Auditory 
Education 

Practical    Applica- 
tions of  Visual  Aids 


Ella  C.  Clark 
R.A.  Kissack,  Jr. 

E.  W.  Crawford 
George  W.Wright 
L.  R.  Winchell 

Gertrude  Nichols 

Fannie  W.  Dunn 
V.  C.  Arnspiger 
Cline    M.    Koon 

Fannie  W.  Dunn 
V.    C.    Arnspiger 
Cline    M.    Koon 
John    H.    Shaver 


North    Carolina 

Duke   University, 
Durham 

Ohio 

Ohio  State  Univer- 
sity,   Columbus 

Oklahoma 

A,   &   M.   College, 
Stillwater 

Texas 

University  of  Texas, 
Austin 

West   Virginia 
University  of  West 
Virginia,  Morgan- 
town 

Wisconsin 

State  Teachers  Col- 
lege,   Platteville 

State  Teachers  Col- 
lege,   Stevens 

Stout  Institute, 
Menomonie 


Visual  Instruction 


Visual  WAs 


C.  F.  Hoban,  Jr. 
Edgar  Dale 


Visual   Education  J.  C.  Muerman 


The  Use  of  Visual 
Aids   in   Education 

Visual  Aids   in 

Teaching 
Current   Practices   in 

Education 

Visual   Instruction 
Visual   Instruction 

Visual    Education 


B.   F.   Holland 

R.  W.  Cline  and 
H.    B.   Allen 
H.   B.   Allen 


V.   M.   Russell 
C.   D.  Jayne 

Paul  C.  Nelson 


Pennsylvania 

The  following  44  teacher-training  institutions  will  give 
courses  in  "Techniques  for  Visual-Sensory  Aids".  The  com- 
plete list  of  instructors  was  not  available  in  time  for  this 
issue,  hence  we  present  merely  the  list  of  colleges  where  such 
required  courses  will  be  given. 


Albright    College, 

Reading 
Allegheny  College, 

Meadville 
Beaver  College, 

Jenkintown 
Bucknell   University, 

Lewisburg 
College    Misericordia, 

Dallas 
Drexel   Institute 

Philadelphia 
Elizabethtown    College, 

Elizabethtown 
Geneva   College, 

Beaver  Falls 
Gettysburg   College, 

Gettysburg 
Grove  City  College, 

Grove  City 
Immaculata  College, 

Immaculata 
LaSalle   College, 

Philadelphia 
Lehigh  University, 

Bethlehem 
Marywood  College, 

Scranton 
Mercyhurst  College, 

Erie 
Muhlenberg  College, 

Allentown 
Penna.   College   for   Women, 

Pittsburgh 
Pennsylvania    State   College, 

State  College 
Rosemont  College, 

Rosemont 


Scton    Hill    College, 

Greensburg 
St,  Thomas   College, 

Scranton 
Susquehanna    University 

Selinsgrove 
Temple  University, 

Philadelphia 
Thiel  College, 

Greenville 
University   of    Pennsylvania, 

Philadelphia 
University  of  Pittsburgh, 

Pittsburgh 
Villa    Maria   College, 

Erie 
Villanova    College, 

Villanova 
Washington    &   Jeflferson 
College 

Washington 
Waynesburg   College, 

Waynesburg 
State    Teachers    Colleges    at 

Bloomsburg 

California 

Clarion 

East  Stroudsburg 

Edinboro 

Indiana 

Kutztown 

Lock    Haven 

Mansfield 

Millersville 

Shippensburg 

Slippery  Rock 

West  Chester 

Cheyney   Training   School 


lay,  19)6 


Page  149 


Department  of  Visual  Instruction 


Meeting  at  Portland 

'E  ARE  called  upon  to  announce,  most  regret- 
fully, that  there  will  be  no  meeting  of  the  De- 
"artment  of  Visual  Instruction  concurrently  with 
the  National  Education  Association  this  June  at 
Portland.  "Distance"  was  the  prime  compelling 
cause  for  the  decision  reached  by  the  Executive 
Committee.  Numerous  other  prominent  Depart- 
ment members  fully  concur.  Promotional  efforts 
toward  a  Portland  meeting,  begun  immediately  aft- 
er the  very  successful  one  at  St.  Louis,  have  re- 
vealed the  unfortunate  situation  (as  of  May  1st), 
which  dictates  the  decision. 


^STat( 


epartment  members  in  the  ten  westernmost 
states  (New  Mexico,  Arizona,  California,  Nevada, 
Utah,  Wyoming.  Idaho,  Montana.  Oregon,  Wash- 
ington) total  less  than  ?'/(  of  the  Department  mem- 
bership. The  other  thirty-eight  states  give  the  93%, 
in  which  percentage  are  included  all  the  leading 
members  whose  regular  attendance  has  assured  a 
substantial  and  representative  audience  at  past 
meetings.  A  canvas  has  shown  that  these  leaders, 
almost  without  exception,  will  not  be  at  Portland. 
If  the  leaders  cannot  go.  it  can  hardly  be  expected 
of  the  rank  and  file.  The  audience,  then,  must 
needs  be  almost  exclusively  from  the  7%  of  the 
total  membership.  Further,  the  business  session 
regularly  takes  ])lace  in  June,  when  new  officers 
for  the  ensuing  year  are  elected.  With  93%  absent, 
7%  can  scarcely  be  considered  a  "quorum".  The 
present  officers  have  suggested  a  vote  by  mail — a 
ballot  sent  to  every  member — on  nominations  to 
be  made  by  the  Executive  Committee.  But  the 
Committee  rules  that  present  officers  be  continued 
until  the  meeting  in  February  next,  and  the  busi- 
ness session  to  be  held  at  that  time. 

Department  finances  were  also  given  due  consid- 
eration in  this  decision.  Though  the  Portland  at- 
tendance might  shrink,  there  would  be  no  shrink- 
age in  the  costs  of  holding  the  meeting.  Such  ex- 
penditure, by  the  whole  Dej^artment  for  the  benefit 
of  so  small  a  fraction,  is  obviously  disproportionate. 
Although  the  Department  treasury  is  less  feeble 
than  is  usual  at  the  end  of  the  school  year — thanks 
to  the  exceptional  membership  growth  of  the  past 
four  months — it  seems  wise  to  use  its  contents  for 
the  maximum  good  of  the  Department  as  a  whole. 
Instead  of  expending  our  entire  balance,  and  a  large 
portion  of  revenues  still  to  come  (hoffentlich) ,  on 
the  Portland  meeting,  it  is  to  be  devoted  to  the  end 
most  devoutly  to  be  wished,  namely,  the  steady  and 
healthy  growth  in  Department  membership.  If  all 
available  funds  are  applied  judiciously  to  this  end, 
to  judge  from  the  gratifying  results  so  far  in  1936, 
the  Department  should  be  able  to  approach  next 
3'ear's  winter  meeting  with  a  membership  not  only 
surpassing  all  previous  records  but  large  enough  to 
assure  two  meetings  a  year,  each  richly  worthwhile, 
regardless  of  our  national  geographv. 

E.  C.  W. 


Conducted  by  E.  C.  WAGGONER,  Secretary-Treasurer 


New  Jersey  Visual  Association  Meets 

The  spring  meeting  of  the  N.  J.  Visual  Education 
Association  was  held  May  2nd  in  conection  with  the 
N.  J.  State  Secondary  School  Conference  at  Rutgers 
University,  New   Brunswick,  N.  J. 

The  program  consisted  of  the  following  demonstra- 
tions : 

"An  Inexpensive  Visual  Method  for  Problem  Teach- 
ing" (Illustrated  by  Slides) — Roger  B.  Saylor,  Head 
of  Science  Department,  Barringer  High  School, 
Newark. 

"Making  the  Most  of  Your  Projection  Equipment" 
— Frank  H.  Broome,  Science  Instructor,  High  School, 
Pompton  Lakes. 

The  Use  of  an  Eastman  Teaching  Film  entitled, 
"Weather  Forecasting"  (Silent) — Frances  H.  Dicker- 
son,  Science  Instructor,  East  Side  Technical  High 
School,  Newark. 

Massachusetts  Annual  Meeting 

The  Massachu.setts  Branch  of  the  Department  of 
Visual  Instruction  of  the  N.  E.  A.  held  their  sixth  an- 
nual Visual  Education  meeting  Saturday,  April  11, 
1936,  at  Boston  University  School  of  Education.  The 
following  discussions  and  demonstrations  of  desirable 
methods  for  using  teaching  aids  were  given : 

Radio :  The  use  of  the  radio  and  pupil  broad- 
casting as  a  Teaching  Aid. — Mr.  Alden  Read,  Teacher 
of  Mathematics  and  Director  of  the  Radio  Broadcast- 
ing Club,  Frank  A.  Day,  Junior  High  School,  Newton. 

Puppets:  The  use  of  puppets  as  a  Teaching  Aid 
— Miss  Vivian  Dingley,  Principal,  Winthrop  L.  Chen- 
ery  School,  Belmont. 

Trips:  Making  the  most  of  excursions  and  trips — 
Miss  Madalene  B.  Sawyer,  Educational  Department, 
Children's  Museum,  Jamaica  Plain. 

Motion  Picture  Appreciation :  How  to  teach  motion 
picture  appreciation. — Miss  Martha  P.  Farwell,  High 
School,  Brockton. 

Bulletin  Boards  and  Blackboards:  How  to  make 
good  use  of  bulletin  boards  and  blackboards  as  part 
of  the  teaching  lesson. — Miss  Sue  Bishop,  Assistant 
Principal,  Wollaston  School,  Quincy. 

Pictures  and  Other  Opaque  Objects:  The  many 
possibilities  of  using  the  opaque  projector  in  teaching. 
— Miss  K.  Louise  Nangle.  Elementary  Supervisor  of 
Physical  Education  and  Director  of  the  Department 
of  Teaching  Aids.  Lynn. 

Models  and  Toys :  Their  use  in  teaching  nature 
study  and  geography. — Mr.  Horace  Taylor,  Instructor, 
Rockwood  Park  School,  Jamaica  Plain. 

(Concluded  oii  page   155) 


Paige  150 


The  Educational  Screen 


News  and  Notes 


Motion  Pictures  Promote  Peace 

"Motion  pictures  are  the  most  powerful  of  all 
means  for  moulding  mankind,"  says  Dr.  Francis  On- 
derdonk  of  the  Architectural  Faculty  of  the  University 
of  Michigan,  and  Director  of  the  Peace  Films  Cara- 
van, a  non-profit  organization  to  promote  world  peace. 
He  advocates  the  motion  picture  as  the  ideal  medium 
to  combat  war  for  it  is  the  "most  scientific,  energy- 
saving  way  to  spread  ideas"  and  makes  unenlightened 

people  see  as  noth- 
ing else  can.  Dr. 
Onderdonk  is  at 
the  present  time 
touring  the  coun- 
try, carrying  his 
16  mm.  talkie  pro- 
jector screen,  and 
films  in  the 
"  Peacemobile, " 
from  which  he  ex- 
hibits such  peace 
films  as  The  Next 
War,  Why,  The 
League  of  Nations, 
The  Shame  of  a 
Nation.  All  Quiet 
The  "Peacemobile"  at  Work  on    the    Western 

Front,  and  others  of  similar  character. 

The  photograph  shows  the  reverse  side  of  the  screen 
which  serves  as  a  billboard  to  advertise  the  meeting. 
Flags  of  fifty  nations  decorate  the  Peacemobile  when 
the  films  are  shown.  A  specially  built,  high  chest  is 
carried  in  the  trunk  and  serves  as  a  stand  for  the 
projector  which  is  placed  50  feet  from  the  screen. 

Dr.  Onderdonk  has  shown  the  peace  films  to  more 
than  36,000  people  in  churches,  schools,  clubs,  and 
parks.  Headquarters  of  the  Peace  Films  Caravan  is 
1331  Geddes  Avenue,  Ann  Arbor,  Mich. 


The  vital  role  films  play  in  shaping  the  thinking  of 
the  nation  is  fully  recognized  also  by  the  National 
Council  for  Prevention  of  War.  The  work  of  its  new 
Alotion  Picture  Department  has  been  carried  on  in 
the  behalf  that  the  masses  of  people  in  this  country 
who  want  to  see  world  peace  established  can  influence 
the  tone  and  content  of  motion  pictures  if  they  will 
make  their  desires  known  to  exhibitors  and  producers. 
To  encourage  such  expression  of  opinion,  a  semi- 
monthly Bulletin  on  Current  Films  is  issued  which 
evaluates  features  and  newsreels  from  the  point  of 
view  of  their  eflfect  on  war  and  peace,  with  suggestions 
that   its   readers  address   letters   of   commendation   to 


Conducted  by  JOSEPHINE  HOFFMAN 


the  producers  of  those  films  that  emphasize  the  impor- 
tance of  working  for  peace. 

Visual  Aids  in  New  York  Schools 

While  visual  aid  instruction  in  the  public  schools 
of  New  York  City — "the  largest  school  system  in 
the  world" — consists  largely  of  still  pictures,  the 
facilities  gradually  are  being  changed  to  motion 
picture  projection. 

Present  equipment  consists  of  200  auditorium 
and  470  classroom  projection  machines  and  1,270 
stereopticon  machines,  according  to  the  annual  re- 
port of  the  Board  of  Education.  A  total  of  1,700 
reels  of  film  are  available  for  showing  in  the  school 
system,  and  314,030  slides.  Nature  study  films  are 
the  most  popular  with  children,  says  the  report 

Museum  Film  Showings 

Numbered  among  the  most  interesting  of  recent 
film  enterprises  in  metropolitan  New  York  is  the 
film  series  entitled  "A  Short  Survey  of  the  Film  in 
America."  showing  pictures  of  the  early  days,  whicli 
have  been  initiated  by  the  Museum  of  Modern  Art 
Film  Library.  This  valuable  collection  of  films  has 
already  been  mentioned  in  these  pages.  The  series 
of  five  showings  opened  at  the  Dalton  School  on 
January  7th  and  closed  on  May  5th  with  "The 
Talkies ',  which  included  early  experiments  in 
sound-film,  a  scene  from  The  Jaz::  Singer  and  the 
Mickey  Mouse  film.  Steamboat  Willie. 

The  pictures  in  this  series  are  available  for  exhi- 
bition in  colleges  and  museums. 

Highlights  of  the  National  Conference  on 
Visual  Education  and  Film  Exhibition 

The  program  for  this  unique  Conference,  formerly 
known  as  DeVry  Summer  School  of  Visual  Educa- 
tion, is  almost  completed.  We  have  been  furnished 
a  few  advance  notes  on  some  of  its  speakers  and 

films. 

Among  educators  to  speak,  these  names  attract 
attention:  H.  L.  Kooser,  Iowa  State  College;  W.  H. 
Johnson,  Superintendent  of  Chicago  Schools ;  J.  E. 
Hansen,  University  of  Wisconsin ;  J.  A.  Hollinger, 
Director  Visual  Education,  Pittsburgh  Schools; 
Rupert  Peters,  Director  Visual  Education,  Kansas 
City  Schools ;  Edgar  Dale,  State  University  of 
Ohio;  Miss  J.  M.  Carter,  University  of  Chicago. 

Among  industrial  firms  entering  films  in  the 
exhibition  are:  American  Steel  and  Wire,  Ford 
Motor,    International    Harvester,    General    Motors, 


Tfrty,  1936 


Page  151 


But  this  way  our  talking  picture  equipment 


plu 

pro 

[  yea: 

w 


ES,  indeed,  it  is  now  possible 
for  schools  to  obtain  talking 
don  picture  equipment  without 
rawing  on  school  board  funds. 
The  purchase  of  an  RCA  l6mm. 
\\  Sound  Motion  Picture  Projector, 
plus  a  service  often  complete  film 
programs  (covering  a  scholastic 
ear)  is  very  simply  financed. 
This  is  how  it  is  done:  There  is 
small  down  payment,  which  can 
be  easily  raised  through  your  local 
P.  T.  A.  Subsequent  monthly  pay- 
ments, running  through  the  school 
year,  can  be  more  than  covered  by 
charging  a  small  admission  to  each 
monthly  film  program.  Admissions 
are  usually  10(i. 

At  the  end  of  the  year,  the  school 

owns  the  equipment,  and  there  are 

no  more  expenses,  except  for  film 

rental,  which  is  a  minor  item. 

Programs  furnished  under  this 


self-financing  plan  are  supplied  by 
Walter  O.  Gutlohn,  Inc.,  35  West 
45  th  Street,  New  York  City,  who 
are  well  known  in  this  field.  Films 
available  include  such  classics  as 
Jane  Eyre,  The  Last  of  the  Mohi- 
cans, and  other  famous  works; 
sports,  including  sport  instruction; 
news;  and  other  features. 


The  RCA  16mm.  Sound  Motion  Piccure  Proiector  is 
an  adaptation  of  the  famous  RCA  Photophone  Pro- 
jector used  in  leading  theatres.  Portable.  Can  be 
operated  by  anyone.  Ptovides  brilliant  pictures  and 
amazingly  realistic  sound. 


Remember  that  educational  use  of 
talking  pictures  is  increasing  stead- 
ily, as  the  country's  leading  educa- 
tional institutions  join  hands  with 
producers,  creating  new  films  of 
marked  instructional  value.  The 
new  RCA  Self-Financing  Plan  is 
offered  only  to  schools,  hospitals 
and  similar  institutions.  There  is  a 
coupon  below.  We  suggest  you  clip 
it  and  get  the  full  details  of  this 
method  that  gives  you  the  famous 
RCA  16mm.  Sound  Motion  Picture 
Projector  without  draw-  ^g^^ 
ing  on  school  board  (|  ^Jfl  |j 
funds.  Clip  the  coupon! 

RCA  Mfg.  Co.,  Inc.,  Visual  Sound  Section, 
Camden,  N.  J. 

Please  send  me  full  details  of  the 
RCA  Projectors. 


RCA  EDUCATIONAL  PRODUCTS 


Name- 


SchooL 


Street- 


City- 


-State- 


RCA  MANUFACTURING  COMPANY,  Inc. 

CAMDEN,    NEW  JERSEY  •   A    SERVICE    OF   THE    RADIO    CORPORATION    OF    AMERICA 


Page  152 

General  Electric,  Pure  Oil,  Household  Finance. 
California  Fruit  Exchange,  Standard  Oil,  Firestone 
Tire  &  Rubber,  Goodyear  and  Caterpillar  Tractor. 
We  hope  to  publish  a  more  detailed  program  in 
our  next  issue.  The  dates  are  June  22  to  25 — and 
the  place — Francis  Parker  School,  Chicago. 

Film  Catalogs 

"A  National  Encyclopedia  of  Educational  Films 
and  16  mm.  Apparatus  Available  in  Great  Britain", 
published  by  the  Central  Information  Bureau  for 
Educational  Films  (price,  one  guinea),  is  the  most 
complete  list  yet  to  be  compiled  of  all  the  educa- 
tional films  available  in  England.  The  bulk  of  the 
catalog's  288  pages  is  devoted  to  the  classification 
of  approximately  3000  films  under  four  main  sec- 
tions— 35  mm.  sound,  35  mm.  silent,  16  mm.  sound, 
16  mm.  silent.  In  these  sections  the  films  are 
grouped  under  subject  heads,  but  in  separate  lists 
for  each  distributor,  which  necessitates  looking 
through  the  product  of  several  distributors  for  a 
film  on  a  certain  topic.  In  our  opinion,  this  ar- 
rangement is  somewhat  confusing  and  time-con- 
suming and  could  be  greatly  improved.  In  addition 
to  the  film  listings,  the  catalog  includes  articles  on 
the  contribution  of  the  film  to  learning,  and  meth- 
ods of  teaching  by  film ;  a  number  of  tables  relating 
to  film  prices,  lenses  and  picture  sizes ;  a  list  of 
16  mm.  projectors  with  details  of  each ;  a  list  of 
cameras  and  other  accessories,  and  a  Ijibliography. 

In  the  production  of  this  book  the  publishers 
have  performed  a  great  service  to  educational  film 
users  as  it  is  the  only  reference  guide  of  the  kind 
in  England.  Bi-monthly  bulletins  will  also  be  is- 
sued to  supplement  and  keep  the  Encyclopedia  up 
to  date.  ♦       ♦       ♦ 

The  Spring-Summer  1936  film  catalog.  Motion  Pic- 
tures of  the  World  and  Its  Peoples,  compiled  by  In- 
ternational Educational  Pictures.  Boston,  has  recently 
come  from  the  press.  It  maintains  the  excellent  stand- 
ard of  previous  editions  in  appearance  and  contents. 
Although  the  current  issue  follows  the  same  style  of 
typography  and  film  classification  of  the  others,  it 
shows  careful  revision  and  the  inclusion  of  some  new 
features.  The  directory  contains  58  pages,  8j4  x  11 
inches  in  size,  and  is  thoroughly  indexed. 

This  publication  is  now  issued  twice  a  year — in  the 
spring  and  in  the  fall — for  the  price  of  35c  annually. 
♦         ♦         ♦ 

Bell  &  Howell  Company  has  ready  for  distribution 
a  new  edition  of  its  Medical  and  Dental  Films  Catalog 
• — a  listing  of  16nim.  films  on  medical,  surgical,  health, 
dental,  and  hygiene  subjects  which  are  available, 
from  their  respective  sources,  for  loan,  rental,  or  pur- 
chase. Physicians,  surgeons,  dentists,  nurses,  teachers, 
and  cinematographers  generally,  will  find  the  catalog 
of  interest  and  value.  Some  three  years  ago  this 
company  issued  its  first  catalog  of  medical  and  sur- 
gical  films.    It   consisted   of   some   twenty   pages.    An 


The  Educational  Scree; 


indication  of  progress  and  increased  interest  in  mc 
tion  pictures  in  this  field  is  to  be  found  in  the  fact 
that  the  new  catalog  of  58  mimeographed  pages  lists 
approximately  three  times  as  many  medical  and  sur- 
gical films  as  did  the  first  one.  Dental  films  listings 
have  increased  in  like  proportion.  Significant  also  is 
the  appearance  of  a  number  of  sound  films. 

Current   Film  Releases 

Shakespeare  Classic  Fai+hfuliy  Screened 

The  forthcoming  screen  version  of  Shakespeare's 
Romeo  and  Juliet,  co-starring  Norma  .Shearer  and 
Leslie  Howard,  gives  promise  of  a  rare  treat  in  store 
for  educational,  civic  and  social  groups,  judging  from 
a  report  on  the  Metro-Goldwyn-Mayer  production  by 
William  Strunk  Jr.,  Professor  of  English  at  Cornell 
University,  who  served  as  literary  and  technical  ad- 
visor on  the  film. 

Commendable  has  been  the  striving  towards  authen- 
ticity. Writers  and  great  painters  of  the  period,  mu- 
seums, and  modern  historians  have  been  consulted  for 
the  details  of  costume,  life  and  manners.  The  sets 
are  based  on  actual  buildings  in  Verona  and  elsewhere 
in  Northern  Italy.  The  production  not  only  aims  at 
presenting  the  drama  with  an  authentic  background  of 
life  and  manners  and  all  the  outward  show  of  the 
Italian  Renaissance,  but.  beyond  this,  it  aims  at  being 
faithful  to  Shakespeare's  conception  of  the  story  and 
at  revealing  the  poetry  and  beauty  of  a  great  drama. 
All  the  dialogue  is  from  the  text  of  the  play.  The 
]5icture  begins  with  Shakespeare's  beginning  and  ends 
with  his  ending. 

Sound  Films  on  House  Fly  and  Leaves 

Two  educational  pictures  have  just  been  completed 
as  the  latest  addition  to  the  Erpi  educational  film 
library.  Leaves  and  The  House  Fl\.  Owing  to  diffi- 
culties in  securing  suitable  material  these  pictures  have 
been  held  up  in  production  for  some  time.  Now, 
however,  all  demands  from  both  research  and  pro- 
duction angles  have  been  met  and  the  two  subjects 
have  just  been  made  available  to  schools. 

The  picture  on  leaves  centers  about  the  function  of 
the  leaf  as  a  good  factory.  Unusual  effects  are  secured 
through  microphotography  and  animated  drawings. 
"The  House  Fly"  combines  biological  science  and 
health  aspects  in  the  study  of  the  life  cycle  and  habits 
of  this  dangerous  pest. 

Culver  Issues  New  16  mm    Prints 

Culver  Military  .\cadeniv  now  have  ready  for  gen- 
eral distribution,  16  mm  ])rints  of  three  sound  films. 
Youth  In  Action  is  a  two  reel  film,  covering  general 
school  activities,  depicting  the  life  of  a  boy  at  Culver. 
Woodcraft  deals  with  Culver  Summer  School,  and  in- 
terestingly ])ortrays  the  activities  of  that  branch  of 
Culver  service.     Naz'al  School  shows  the  life  of  the 

{Concluded  on  paye  159) 


l„„. 


Page  153 


Do       You       Know       That 


Our  Circuit  Service  Plan 


enables  you  to  show  8  reels  of  16  mm.  films  bi-weekly  throughout  the  school  year  —  including  the  highest  grade  of 
film  projector  and  a  TEACHER'S  AIDS  manual  which  thoroughly  covers  the  subject  matter  of  each  film — all  at  a 
cost  to  your  school  of  only  Fifty  Dollars  plus  a  slight  additional  charge  to  cover  express  expense  and  the  cost  of  a 
projection  lamp  for  use  in  the  motion  picture  machine, — a  total  cost  well  under  $60.00,  for  the  entire  year? 

Here  are  two  typical  units — representative  of  the  fifteen  which  are  sent  you  during  the  school  year: 


UNIT  III,  SCHEDULE  XI 

(Adapted  to  the  Grades  &  High  School) 

PERU    (Geoeraphy)    1  reel 

An   Eastman  TeachinK  Films  Production. 
BIRDS  OF  PREY    (Nature  Study) 1  reel 

An   Eastman  Teaching  Films  Production. 
ONE  BEST   PET    (Juvenile) 1  reel 

A    Snooky.    doir,    dunkey    and    piK    story.      A    Chester 
Production. 
FIRE  PREVENTION   (Physical  Science)  1  reel 

An   Eastman   Teaching   Films   Production. 
TERMITES    (Bioloeical   Science) I   reel 

An   Eastman   Teaching   Films   Production. 
STREET   SAFETY— FOR    ADVANCED   GRADES 

(Health) 1   reel 

An   Eastman  Teaching  Films   Production. 
DAYS   WE   LOVE    (Literature) 1  reel 

One  of  .Tames   Whitcomb   Riley's   Poems. 
TABLEWARE    (Home   Economics) 1  reel 

An   Eastman  Teaching  Films   Production. 


UNIT  III,  SCHEDULE  X 

(Adapted  to  the  Grade  Schools  only) 

GRASS    (Geoeraphy)    3  reels 

One  of  the  great  pictures  of  all  time.  This  is  not  fic- 
tion  but  the   actual   struggle   for   life  of  a    Per- 
sian  tribe  in   its  search   for  grass   for  the  cattle. 
LITTLE   DUTCH  TULIP  GIRL    (Juvenile  Literature)      1   reel 
A    Madeleine    Brandeis    production  -      Katrina    shows 
Tom  her  native  land. 

THE  HISTORIC   HUDSON    (History) 1  reel 

Scenes    and    incidents    made    famous    by    Washington 
Irving. 

THE  MONARCH  BUTTERFLY   (Nature  Study) 1   reel 

A   complete   life-historv  of  the  butterfly. 

THE  DIGESTIVE  SYSTEM    (Health)     1   reel 

An   Eastman  Teaching   Films  production.    How  vari- 
ous foods  are  digested  and  assimilated. 

THE    FARM    (Juvenile) 1  reel 

An   Eastman  Teaching  Films  Production. 


WRITE    US    FOR    COMPLETE    SCHEDULES    SHOWING    HOW    THIS 
CIRCUIT    SERVICE    PLAN    ADAPTS    ITSELF    TO    YOUR    SCHOOL 

Ask  us  about  our  wonderful  collection  of  authentically  colored  Lantern  Slides 
SLIDES  &  PROJECTORS  are  for  SALE  or  RENTAL 

William  H.  Dudley  Visual  Education  Service,  Inc. 


736  SOUTH  WABASH  AVENUE 


CHICAGO,  ILL. 


We       Supply       Everything       but       the       Class       and       the       Teacher 


DeVry  Leads  In  Sales  Because  DeVry  Leads  In  Engineering 

THE  ONLY  RADICAL  ADVANCE  IN  16  \^M.  EQUIPMENT 
IN  1935-36  WAS  MADE  BY  DE  VRY 

(1)  Replacing   the   Amateur   Claw    Movement   with   the    Professional 
Sprocket  Intermittent  Movement 

(2)  The  Silent  Chain  Drive. 

(3)  The  Double  Exciter  Lamp  Socket 


DeVry  16  mm.  Sprocket  Intermittent  Sound  Unit  OeVry  35  mm.  Portable  Sound  Unit  DeVry  Theatre  Sound  Projector 

Because  DeVry  Manufactures  ALL  TYPES  of  Motion  Picture  Equipment  Silent  and  Sound  16  and  3  5  mm. 
Projectors  and  Cameras,  DeVry  representatives  give  unbiased  advice  as  to  the  type  best  suited  to  each  school. 
Sen<J    for    free    membership    card    and    program 

FOR  THE  NATIONAL  CONFERENCE  ON  VISUAL  EDUCA- 
TION AND  FILM  EXHIBITION,  CHICAGO— JUNE  22nd  TO 
25th,   1936. 

ADMISSION  BY  CARD  TO  ALL  SESSIONS 


COUPON   FOR   MEMBERSHIP  CARD 

Name     

Address 

Position    

Film    Entry,   if  any 


HERMAN    A.    DeVRY,    INC. 


nil  CENTER  ST.,  CHICAGO 


Page  1 54 


The  Educational  Screen 


Film  Production  in  the  Educational  Field 


/^~\  XE  often  hears  the  question  "How  long  should 
^-^  my  motion  picture  film  be?"  This  is  a  variable 
which  depends  entirely  on  the  type  of  subject  and 
method  of  treatment.  Many  films  lose  their  effec- 
tiveness due  to  the  fact  that  the  producer  has  tried 
to  economize  too  much  on  the  quantity  of  film  used. 
It  is  true  that  film  is  expensive  but  we  must  figure 
this  item  in  the  original  production  budget  bearing 
in  mind  that  in  the  average  film  one  takes  about 
30%  more  footage  than  is  used.  Even  with  careful 
planning  and  a  well  constructed  scenario,  allow- 
ance must  be  made  for  cutting,  editing,  retakes  and 
other  minor  items. 

A  film  always  progresses  more  smoothly  when 
plenty  of  footage  is  taken  and  edited  down  to  the 
final  copy  rather  than  filling  in  an  under-shot  pro- 
duction. Four  hundred  feet  of  silent  film  will  show 
on  a  screen  approximately  15  minutes. 

What  Type  of  Film  Should  Be  Used  is  always  a 
problem  with  the  many  good  types  now  on  the  mar- 
ket. The  raw  stock  field  may  be  divided  into  two 
general  classes ;  the  high  speed  and  slow  speed 
emulsions.  These  two  classes  may  further  be  di- 
vided into  orthochromatic  (commonly  known  as 
"ortho")  and  panchromatic  (commonly  known  as 
"pan").  The  orthochomatic  films  are  sensitive  to 
blue,  green  and  yellow  light  and  the  panchromatic 
films  are  sensitive  to  red  in  addition  to  the  above 
mentioned  colors. 

For  exterior  photography  by  sunlight  the  cheap- 
er orthochromatic  type  is  perfectly  satisfactory. 
Where  sunlight  is  used  one  may  use  a  compara- 
tively slow  film  and  still  have  plenty  of  leeway  in 
speed.  However  if  an  interior  set  is  to  be  photo- 
graphed only  the  highest  speed  panchromatic  film 
should  be  used,  thus  utilizing  the  powerful  yellow 
and  red  radiation  from  incandescent  lights.  A  safe 
rule  to  follow  is  to  have  more  speed  than  necessary 
in  a  film  rather  than  be  on  the  margin,  therebj' 
necessitating  the  use  of  a  large  diaphragm  opening. 

For  a  400  ft.  reel  one  should  figure  that  if  slow 
film  is  used  it  will  cost  between  $20.00  and  $25.00 
for  the  raw  stock.  If  the  high  speed  type  is  used  the 
cost  will  run  between  $35.00  and  $40.00. 

Exposure  Meters  Should  Be  Used  to  obtain  the 
correct  exposure  on  the  film.  This  point  cannot 
be  overemphasized.  A  great  many  amateurs  who 
have  taken  a  few  personal  motion  picture  films  by 
guessing  the  exposure  time,  feel  that  they  are  quali- 
fied to  estimate  exposures  on  difficult  interiors  by 
the  same  method.  The  writer  has  never  seen  any- 
one who  could  guess  accurately  more  than  50%  of 
the  time  and  this  is  not  good  enough  for  teaching 
films. 


Conducted  by  F.  W.  DAVIS 

Department  of  Photography 
Ohio  State  University,  Coiunnbus 

There  are  many  excellent  meters  on  the  market 
for  this  purpose.  One  type  uses  a  photo-electric 
cell  to  accurately  measure  the  intensity  of  the  light- 
ing. Another  type  uses  a  visual  device  where  the 
operator  looks  through  the  meter  and  estimates  the 
exposure  by  visual  methods.  Any  of  these  meters 
will  give  good  results  if  properly  handled.  Just  a 
word  of  warning  however.  Don't  expect  these  me- 
ters to  think  for  the  operator;  unfortunately,  they 
will  not  do  it.  You  must  become  perfecly  familiar 
with  the  particular  type  of  meter  that  is  used  before 
attempting  to  make  movies,  and  then  use  common 
sense  in  interpreting  the  results. 

Nothing  is  more  disappointing  than  to  find  after 
taking  several  reels  of  film  that  the  results  are  so 
dark  that  it  is  difificult  to  see  them  on  the  screen 
or  that  they  are  so  thin  and  washed  out  that  thev 
show  no  detail. 

Tripod  Support  is  Very  Necessary.  ^Vhoe^"er  saw 
a  professional  cameraman  making  movies  holding 
the  camera  in  his  hand?  With  the  present  type  of 
professional  35mm.  camera  it  would  take  a  super- 
man to  hold  such  an  outfit  but  even  in  the  days 
when  these  large  cameras  were  portable  the  opera- 
tors always  used  a  tripod.  Why?  The  answer  is 
to  insure  rock-steady  pictures. 

I  imagine  all  of  you  readers  have  had  the  ex- 
perience of  becoming  comfortably  seated  to  view  a 
friend's  movie  made  on  a  summer  trip.  Then  after 
an  hour's  showing  experiencing  a  violent  headache 
from  jerky,  unsteady  pictures.  A  film  obviously 
loses  the  interest  of  its  viewers  when  this  occurs. 

Just  bear  in  mind  that  the  exposure  on  the  mo- 
tion picture  film  is  of  the  same  order  of  duration  as 
the  snapshot  speed  on  ordinary  hand  cameras,  and 
you  know  from  experience  what  happens  when  the 
camera  is  moved  during  the  snapping  of  a  still  pic- 
ture. Moving  either  camera  will  result  in  blurred 
pictures. 

When  purchasing  a  tripod  insist  on  a  model 
which  is  constructed  heavily  enough  to  give  a  firm 
support  to  the  camera.  There  are  many  excellent 
wooden  and  metal  tripods  on  the  market  and  they 
may  seem  rather  expensive  on  first  thought  but  they 
are  a  very  necessary  item  in  the  amateur  camera- 
man's equipment.  They  should  possess  a  tilting 
and  panoramic  head  to  enable  the  operator  to 
quickly  change  the  angle  of  the  camera  without 
disturbing  the  tripod  itself.  The  locking  device  on 
this  head  must  really  lock  the  tilt,  otherwise  the 
camera  may  tilt  of  its  own  accord;  throw  the  set 


May,  19}  6 


Page  155 


The 


Challenger 


POPULAR — because    adaptable 
to  so  many  different  requirements 

Wherever  used,  the  Da-Lite  Challenger  Screen  will  prove  a  time-saver 
for  yonr  teachers.  The  Challenger  is  mounted  in  a  reinforced  metal  ease. 
which  is  pivotally  attached  to  a  specially  designed  tripod.  It  can  be  set 
up  in  a  jiffy  and  adjusted  in  height  to  suit  the  requirements  of  large  or 
small  groups.  Non-sag  tubular  horizontal  supports  prevent  sagging  at 
the  edges  of  the  screen  and  assure  a  smooth,  wrinkle-free  surface.  The 
Challenger  has  the  famous  Da-Lite  glass  beaded  surface  and  is  made  to 
the  same  high  standards  of  qualitj-  for  which  Da-Lite  products  have  been 
noted  for  more  than  25  years. 

See  your  dealer  or  write  us  for  the  new  Da-Lite  Screen  catalogue,  just 
off  the  press ! 

DA-LITE  SCREEI¥  CO.,  Inc. 


2723  No.  Crawford  Ave. 

Quality    Screens    for    More    Than 


Chicago,  Illinois 

Quarter    Century 


Da-Lite  Screens 


#  Folds  to  compact  slie  for  easy 
carrying. 

9  Stands     anywhere     on     its     own 
tripod. 

9  Adjusts   to    height   desired. 


AND    MOVIE 
ACCESSORIES 


off  balance  and  down  goes  the  camera,  lenses,  tri- 
pod and  all. 

IVItat  Constitutes  Good  Film  Material?  Here  an 
analysis  should  be  made  before  starting  production 
as  to  whether  the  material  at  hand  could  better  be 
shown  in  motion  or  by  means  of  lantern  slides  or 
film  strips.  A  motion  picture  should  portray  mo- 
tion or  action.  Quite  frequently  movies  are  pro- 
duced of  static  objects  which  could  not  only  be 
shown  just  as  well  by  slides  but  in  most  cases  bet- 
ter. The  more  continuity  of  action  that  we  have 
in  a  film  the  more  smoothly  its  presentation  is  ac- 
cepted by  the  audience. 

A  good  method  for  determining  what  constitutes 
good  and  bad  film  material  is  to  view  various  edu- 
cational films  and  while  doing  this,  analyze  the 
treatment  from  the  above  standpoint. 

Department  of  Visual  Instruction 

(Concluded  from  page  149) 

Home-Made  Slides:  How  to  use  home-made  slides 
in  teaching. — Miss  Sybil  S.  Daniels,  Teacher,  Paul 
Revere  School,  Revere. 

Silent  Motion  Pictures :  Methods  for  using  silent 
motion  pictures. — Mr.  Frank  A.  Rhuland.  Teacher 
and  in  Charge  of  Visual  Education,  School  Depart- 
ment, Beverly. 

Sound  Motion  Pictures :  Using  sound  motion  pic- 
tures in  teaching. — Mr.  Henry  E.  Childs,  Instructor  in 
Visual  Education,  Providence,  Rhode  Island. 


Compare  BEFORE 
You  Buy! 

10MM.    UNIVERSAL    SOUND 
ID  PROJECTOR    HAS    EVERY- 
THING.    Here  at  last  is  the  all  pur- 
pose machine   .    .    .    ideal  for  a  small 
group  and  equally  efficient  for  audi- 
torium   gatherings    up    to 
2000.     Simple  in  operation 
for  amateur  use  yet  built 
with  a  precision  and  stur- 
diness     that     means     years 
of    satisfactory    service. 
It's     easy     on     films,  too. 
Universal  Sound  Projectors 
are  designed  from  the  table 
up   as   sound- on -fibn   ma- 
chines .  .  .  not  simply  the 
old  silent  type  with  sound 
equipment  added. 


Try  a  UNIVERSAL  side 
by  side  with  any  machine 
on  the  market.  You  owe 
this  test  to  yourselj  before 
making   a    de cision. 


USEES  ALL— PLAYS  ALL 
NIVERSA 


L 


Write  for  prices  and  complete  information 

UNIVERSAL  SOUND  SYSTEM,  Inc. 

Manufacturers  of  16mm.  — 35mm.  Sound  Projectors 


Factory  &  General  Offices 

Allegheny  Ave.  at  Ninth  St., 

Philadelphia,  Pa. 

New  York,  1610  Paramount  Bldg. 


Western  Distributor 

Ideal  Pictures,  Corp. 

30  E.  8th  St.,  Chicago,  IlL 

Ottawa,  Canada,  65  Sparks  St, 


Page  156 


The  Educational  Screi 


School  Department 


creem 

M 


A  Movie  d  Day 

\  /ISUAL  instruction  came  to  the  800  students  of 
^  the  Ponca  City  high  school  this  year,  when  the 
student  council  decided  to  purchase  a  16-millimeter 
projector  early  last  fall.  The  machine  is  not  only 
used  for  classroom  work,  but  also  for  a  program  of 
noon  movies,  one  weekly  five-reel  show,  and  teachers' 
meetings. 

The  council  sponsored  the  sale  of  concessions  at  the 
football  games  and  the  proceeds  of  these  sales  were 
applied  on  the  cost  of  the  projector,  together  with  the 
five  cent  weekly  movie  fee,  which  takes  care  of  the 
cost  of  the  films  used,  the  balance  being  applied  on  the 
cost  of  the  machine.  The  profits  from  the  student 
bookstore,  which  is  also  a  council  project,  are  applied 
on  the  projector.  The  movie  fee  which  is  charged  is 
not  compulsory.  Students  may  attend  a  study  hall 
during  the  five-reel  picture  show,  usually  given  on 
Friday  mornings  during  the  activity  period.  On 
Thursday  preceding  the  show  a  movie  census  is  taken 
on  the  following  mimeographed  blank : 

Name    Date 


Simplicity 

of  operation 


featured  in 

SYNCROFILM  16 


We  all  know  that  16  mm  sound- 
on-film  for  visual  education  is 
inevitable.  Its  value  has  been 
demonstrated  and  accepted  by 
leaders  in  education.  No  longer 
is  it  considered  as  merely  some- 
thing of  the  future,  a  truly  won- 
derful  idea,  but  extremely 
difficult  to  use,  necessitatins 
cumbersome,  complicated  equip- 
ment manned  by  an  experienced 
projectionist  and  above  all,  far 
too   expensive   to   purchase. 

Simplicity  is  a  feature  which 
makes  the  Syncrofilm  Sixteen 
Sound  Projector  outvStanding  in 
the  field  of  visual  education,  and 
the  low  cost  brings  this  sound 
projector  within  reach. 


750  watt  illumination,  40  minute  film  capacity,  silent  and 
sound  projection,  capable  of  handling  a  2000  seat  auditorium 
or      the      smallest      classroom.        Write      for      complete      details. 

WEBER  MACHINE  CORPORATION 

Manufacturers    of    35mm    and     16mm    Sound     Projectors 

59    RUTTER   STREET  ROCHESTER.    NEW    YORK 

Export   Office   15    Laight   St..   New   York   City 

Cable    Address    "Romos" 


Conducted  by  DR.  F.  DEAN  McCLUSKY 

Director,  Scarborough  School,  Scarborough-on-Hudten,  N.  Y. 

Please  check  one  of  the  following : 

n  1.  I  am  paying  five  cents  so  that  I  may  attend 
the  movie  this  week. 

D  2.  I  should  like  to  go  but  do  not  have  the 
money. 

D  3.  I  ])refer  to  go  to  study  hall  rather  than  at- 
tend the  movie  this  week. 

Those  students  who  wish  to  see  the  movie,  but  do 
not  have  the  money  are  allowed  to  go  without  paying, 
as  long  as  this  practice  is  not  abused.  The  advantages 
of  such  a  plan  as  this  is  that  it  eliminates  ticket-taking, 
and  there  is  no  need  for  embarrassment  on  the  part  of 
the  students. 

Since  the  student  council  is  attempting  to  pay  for 
the  machine  this  year,  the  budget  for  films  is  limited 
as  yet.  This  year  a  number  of  silent  pictures  have 
been  shown  because  the  cost  of  these  is  less :  however, 
with  the  aid  of  an  electric  turn-table  and  pickup  it  is 
possible  to  use  recordings ;  either  musical,  speech,  or 
other  sound  efifects  in  conjunction  with  the  silent  films. 
A  microphone  is  also  available  for  the  use  of  instruc- 
tors who  wish  to  lecture  to  the  class  during  the  show- 
ing of  a  silent  film.  It  is  hoped  that  next  year  an 
appropriation  for  providing  films  will  be  secured  from 
the  Board  of  Education,  instead  of  using  such  a  fund 
for  other  kinds  of  instructional  supplies.  With  this 
appropriation  it  will  be  possible  to  obtain  more  sound 
films,  as  well  as  films  of  a  later  date. 

Because  of  the  limited  equipment  in  the  cafeteria, 
and  the  location  of  the  high  school  building,  it  has 
been  necessary  to  arrange  a  schedule  of  classes  which 
are  in  session  continuously  throughout  the  day,  with 
two  lunch  period  classes  which  overlap  thirty  min- 
utes. One  half  of  the  student  body  goes  to  lunch  as 
the  other  half  goes  to  a  noon-hour  class.  Students 
usually  finish  their  lunch  in  fifteen  or  twenty  minutes 
and  a  problem  of  what  to  do  with  those  students  to 
have  only  a  minimum  of  disturbance  in  the  halls,  faced 
the  administration.  The  answer  to  this  was  a  pro- 
gram of  noon  movies.  The  committee  selects  a  one- 
reel  film  on  travel,  comedy,  cartoon,  sports,  or  some 
other  short  subject ;  or  a  five-reel  picture  is  selected 
and  one  reel  of  it  is  shown  each  day  of  the  wek.  This 
program  usually  lasts  about  ten  minutes.  The  films 
for  this  program  are  chosen  more  for  the  enjoyment 
of  the  student  than  for  any  particular  educational 
value  they  have.  It  gives  the  students  a  definite  place 
to  go  when  they  have  finished  their  Ivmch  and  provides 
a  brief  period  of  relaxation  before  classes  are  resumed 
for  the  afternoon. 

Programs  on  motion  ]Mcture  appreciation  have  beeil 


May,  1936 


Page  157 


Four  New 
KEYSTONE 

Geography  Units 

Available  for 
September  Delivery 

Unit  No.  2 1 ,  Our  Mexican  Neighbors 

Unit  No.  22,   Living  in  the  Caribbean 
Lands 

Unit  No.  23,   The  East-Coast  Countries 
of  South  America 

Unit  No.  24,   The    West-Coast    Coun- 
tries of  South  America 


Whether  you  purchase  materials  for  a 
single  building  or  single  classroom  use,  or 
for  distribution  to  several  schools  from  a 
central  bureau,  you  will  find  no  material 
more  interesting  or  more  practical  than  the 
KEYSTONE  GEOGRAPHY  UNITS. 

A  superintendent  of  schools  writes:  "Your 
Geography  Units  have  given  our  teachers 
an  entirely  new  interest  in  the  use  of  visual 
aids." 


A  Teachers'  Manual  for  Examination  Will  Be 
Furnished  on  Request. 


Keystone  View  Co. 


MEADVILLE,  PENNA. 


v94 


/^toj^ctot 


YOU  CAN  USE  AT  YOUR  OWN  DESK! 

The  Spencer  Model  "B"  Delineascope  permits 
you  to  lecture  to  your  class,  illustrate  specific  points  with 
glass  slides — and  still  remain  seated  at  your  own  desk  in 
the  front  of  the  room.  No  need  to  stand  up  to  operate 
the  projector  yourself  at  the  back  of  the  room;  no  need 
to  have  It  operated  by  an  inexperienced  student.  You  sit 
facing  your  class,  all  your  lecture  notes  and  facts  at  your 
finger  tips,  the  projector  on  your  desk  ready  for  instant 
use.  It  is  the  ideal  way  to  use  visual  education  in  teaching. 

In  operating  the  projector,  you  place  the  gloss 
slide  right  side  up  on  the  slide  track.  The  image  on  the 
screen  is  shown  to  your  class  exactly  as  the  slide  appears 
to  you.  Using  a  pencil  you  can  point  out,  on  the  slide, 
the  specific  object  under  discussion — and  the  image  of 
the  pencil  appears  as  a  pointer  on  the  screen. 


MODEL  "B" 

ly£LLn£a.5co,2£: 

Projects  glass  slides  and  transparent 
biological  specimens.  500-watf  Maz- 
da bulb  and  superior  optics  assure 
brilliant,  clear  Images  on  the  screen. 
Produces  approximately  3-foot  pi«^ 
tures  when  used  on  lecture  table  only 
5H  feet  from  the  wall.  For  complete 
information  and  prices  write  for 
Folder  K-78. 

Please   address    Dept.    R-5. 


Spencer  Lens  Company 


Buffalo 


New  York 


Page  158 


The  Educational  Screen 


How  Are  Screen 
Cartoons  Made? 


Millions  of  adults  and  children 
want  to  know.     So  .  .  . 


LOWELL  THOMAS  interviews  a  famous 
screen  cartoonist,  and  thoroughly  explains 
and  illustrates  the  tricks  and  mechanics  that 
have  amazed  and  mystified  audiences  for 
years! 

"CARTOONLAND 
MYSTERIES'' 

Revealed  for  the  first  time  in  Universal's  un- 
usual "GOING  PLACES"  No.  18.  Another 
step  forward  by  Universal  in  genuine  visual 
education  and  entertainment! 

Write  to  Universal's  N on-theatrical  De- 
partment for  further  information  on  this 
behind-the-scenes  motion  picture  scoop! 


Consult  us  on  geographical,  musical  or 
historical  subjects — on  current  events — on 
cartoon  comedies — or  feature  length  films! 

UNIVERSAL  PICTURES 
CORPORATION 

Rockefeller  Center  New  York,  N.  Y. 

WHAT  THE    EYE   SEES,   THE   MIND    REMEMBERS! 


Picture  Studies 

FOR  THE  CLASSROOM 
FOR  INDIVIDUAL  STUDY 
FOR  OPAQUE  PROJECTION 

Photoan  Visual  Units  are  a  well  organized  group  of 
pictures  with  explanatory  text  together  with  thought 
(luestions  which  will  help  the  child  to  interpret  the 
pictiu-e   correctly. 

Coal   Mining..... .56  cards  $1.99 

J""an 58  cards  I.M 

Means   of   Transportation B7  cards  2.25 

U.S.    Northern    Interior 74  cards  2.23 


Actual  Size  6x9'/2 


Photoart    House 


Send  for  sample  card  today. 

844  N.   PLANKINTON   AVE. 
IHtLWAUKEE,  WISCONSIN 


conducted  in  home  room  groups  and  this  suhject  has 
also  been  stressed  in  the  EngHsh  classes.  A  number 
of  books  on  the  subject  of  motion  picture  appreciation 
were  purchased  for  the  high  school  library  this  vear, 
and  are  available  for  the  use  of  both  students  and 
teachers. 

The  projector  has  been  used  frequently  for  the 
showing  of  educational  films  for  the  various  classes. 
For  example :  films  on  Flozcers  at  Work  and  Sulphur 
have  been  shown  to  the  science  classes ;  The  Declara- 
tion of  Independence,  Vincennes,  and  Alexander 
Hamilton  for  the  history  classes ;  Inland  Waterways 
for  geography  classes  ;  Correct  Shorthand  for  commer- 
cial groups  :  Modern  Basketball  Fundamentals  for  ath- 
letics ;  and  Turkey  Business  and  The  Brooding  and 
Rearing  of  Chicks  for  the  agriculture  groups.  A 
small  fee  was  charged  each  student  in  the  class  for 
these  films.  As  the  auditorium  is  equipped  with  a 
projection  booth,  and  as  the  school  already  owned  a 
first-class  6'x8'  screen,  all  pictures  have  been  shown 
in  the  auditorium,  rather  than  moving  the  equipment 
from  room  to  room.  This  has  proven  very  satisfac- 
tory, especially  when  there  are  several  classes  wishing 
to  see  the  film  the  same  period. 

Several  students  who  manifested  considerable  inter- 
est in  the  operation  of  the  machine,  were  given  the 
opportunity  to  learn  how  to  operate  it.  After  passing 
a  satisfactory  examination  these  boys  have  become 
full-fledged  operators. 

Some  of  the  Friday  features  have  been  The  Lost 
World,  The  Pony  Express.  Julius  Caesar,  The  Cov- 
ered Wagon,  The  Yankee  Clipper,  and  The  Last  of 
the  Mohicans. 

In  the  fall  at  an  open-house  sponsored  by  the  stu- 
dent-Parent-Teacher Club,  a  short  moving  picture 
program  was  used  as  one  of  the  features  of  the  eve- 
ning. A  similar  program  was  used  for  the  "Back-to- 
School  Night",  when  a  sample  of  the  regular  noon 
movie  was  given  for  the  parents  and  patrons.  The 
machine  has  been  used  twice  for  general  teachers 
meetings  in  the  system. 

Once  the  cost  of  the  projector  has  been  taken  care 
of,  the  school  administrators  and  teachers  believe  that 
the  possible  uses  of  the  machine  will  be  invaluable  to 
the  school,  as  well  as  at  present  solving  the  problem  of 
noon  hour  activities. 

By    O.    LOUISE    RANDELL 

High    School,    Ponca    City,    Olcla. 


1 


May,  1936 


Page  159 


In  addition  to  many  recreational  filnns  with  well-known  stars  and  players,  we  offer  subjects 
especially  planned  for  and  appealing  to  scHodI  audiences.  Excellent  educational  films  have 
been  selected,  and  the  subject  matter  of  these  films,  their  photography,  sound  quality  and 
intelligent  presentation  are  of  outstanding  quality  from  the  educational  standpoint. 

Types  of  Educational  16  mm.  Films  Available  for  School  Use 


MUSIC  APPRECIATION 

Vocal 

Instrumental 

Orchestral 
TRAVEL  AND  CUSTOMS 

British  Empire 

Holy   Land   and    Its   Neighbors 

China,  Japan  and  Manchukuo 

Continental  Europe 

Western  Hemisphere 
NATURAL  SCIENCE 

Animal  Study 

Botany 

Geology 


%m 


EDUCATIONAL 


LITERATURE 

Dramatiied  versions  of  "Last  of  the 
Mohicans",  "Black  Beauty",  "Little  Men" 
and   others. 

FOREIGN  LANGUAGES 

Recreational,  classical  features,  also 
short  subjects,  in  English,  French, 
Spanish   and   German. 

SPORTS 

Grantland  Rice  Sportlights 
Football  Technique 
Track  Events 


g%g%^^  tr^^^^w^^    ^Y   special   arrangement  with   the    RCA   Manufacturing    Company   of   Camden,    N.   J.,   we    have 
I    K^^JtW  I  ^^K9    the  exclusive   right  to   offer  their   projectors  to   schools   on   a   deferred    payment   plan,   together 
with   a   program   service  from   our    16  mm.  sound-on-film   library. 


Detailed  information  may  be  obtained  upon  request. 


Walter  O.  Gutlohn,  Inc^ 


35    W.    45+h    ST. 
NEW  YORK,  N.  Y. 


Current  Film  Releases 

^Concluded  from  page  152) 

Culver  student,   insofar  as   Naval  activities  are   con- 
cerned. 

Prints  for  showings  can  be  secured  by  writing  direct 
to  Major  J.  W.  Henderson,  Culver  Military  Academy, 
Culver,  Indiana,  or  to  the  producers,  Chicago  Film 
Laboratory,  Inc.,  Chicago,  111. 

To  the  South  Seas  with  Pillsbury 

Two  new  single-reel  16mm.  sound  films  of  the 
South  Seas,  photographed  and  narrated  by  Arthur  C. 
Pillsbury,  well-known  naturalist  and  lecturer,  are  of- 
fered by  the  Bell  &  Howell  Filmosound  Library. 

Life  in  the  South  Seas  takes  us  to  the  Samoan  Is- 
lands, shows  in  detail  the  life  of  these  happy-go-lucky 
wards  of  Uncle  Sam,  and  presents  fine  time-lapse  pho- 
tography of  the  development  of  the  cocoanut  plant 
and  the  uses  to  which  it  is  put.  The  building  of  the 
South  Sea  Islands  by  two  widely  dilifering  methods, 
coral  and  volcano,  is  graphically  portrayed. 

Life  Under  the  South  Seas,  the  second  film,  shows 
undersea  diving  with  water-tight  motion  picture  equip- 
ment and  the  photographic  results — fascinating  time- 
lapse  pictures  of  starfish,  anemones,  barnacles,  hy- 
droids,  jellyfish,  sea  pens,  sea  urchins,  and  many  kinds 
of  fish.  Mr.  Pillsbury's  own  voice  accompanies  these 
pictures  as  it  has  at  thousands  of  popular  science  lec- 
tures throughout  the  country. 


>A^  ALL 
SPROCKET 
PROJECTOR. 


SILENT 

,  ^         >SOLND 

••i^            on 

r    *«         FILM 

All 
Shaft 
Driven 

StraiRht 

Sound 
Aperture 

Direct 
Beam  of 
Light  on 

Sound 
Track  and 
Photo  Cell 

Hold  Back 

Sprocket 

Filtered 

Sound 

Sprocket 


PROFESSIONAL 
QUALITY 

Ask  any  professional  operator 
why  these  HOLMES  16  mm 
features  are  so  necessary  to 
the  finest  sound  reproduction 
and  picture  projection. 

Write  for  full  descriptive 
literature. 


No  Belts 
No  Chains 

No 
Sound 
Drum 

No 

Reflected 

Lifrht  from 

Sound 

Track  to 

Photo  Cell 

No  Claw 
Movement 

No  High 
Speed 
Shafts 


HOLMES    PROJECTOR    COMPANY 

1813  N.  ORCHARD  STREET  CHICAGO,  ILLINOIS 


Page  160 


The  Educational  Screen  j 


■'^T.S^HCH  OF  tiME. 


IN  'THE 


Xn  Manchukuo,  where  chopsticks  take  the  place  of  knives  and  forks,  Leica 
catches  a  toothsome  moisel  en  route  from  bowl  to  lip.  Wherever  interesting 
action  is  to  be  caught,  Leica  qets  It — stops  it — nails  it  in  the  act. 

You  can  get  along  with  an  old  style  camera,  as  farmers  used  to  get  along 
with  ox-carts — but  today's  photography  demands  tomorrow's  camera — Leica, 
the  candid  camera  that  needs  no  coddling  on  the  hard,  swiit-as-lightning  shots. 

Write     For    FREE    Literature 

We'll  be  glad  to  send  you  a  copy  of  Leica  Photography,  (worth  10^)  FREE 
upon  request.  Leica  Manual  the  500  page  book  on  miniature  photography  is 
worth  far  more  to  you  than  the  $4  it  costs  at 
your  photographic  dealer. 


'eica 


LEICA  PHOTO  by  JuUcn  tlrvaii,  roving  cameraman  tor  "  1  tie  Marirli 
of  Time."  His  movie  shots  may  be  seen  in  recent  releases  on  Russia 
and  Manchukuoj  for  his  stills  be  relies  on  Leica. 


THE  ORIGINAL  MINIATURE  CANDID  CAMERA 


Model  G  with 
f:Z  Summar  Speed  Lens 


U.   S.    PAT.    NO.    1.960,044  PRICES  START  AT  $99. 

E.   LEITZ,  INC.    •   DEPT.  156   •   60  EAST  lOth  STREET,  NEW  YORK  CITY 

Branch    Offices   in   CHICAGO      •     WASHINGTON      •     LOS  ANGELES      .      SAN    FRANCISCO 


TWO  NEW  SCIENCE  AIDS 

FOR       PROGRESSIVE       TEACHERS 

PRINCIPLES    OF    PHYSICS  PRINCIPLES   OF   CHEMISTRY 

The  visualization  of  high  school  The  core  of  the  year's   work  in 

physics  on  35  mm.  film  slides  for  chemistry  especially  adapted  for 

classroom  use.  review. 

Descriptive  literature  and  sample  strip  of 
typical  frames  sent  on  request.     Address : 

VISUAL    SCIENCES  —  Suf  fern,    N.Y. 


MAY  SALE  of 
Movie  Bargains/ 

1 6  MM — Guaranteed  Like  New — Every  Machine  Guaranteed 
Perfect.      Sold   on    a    Ten    Day    Trial   Basis! 


DeVry   Model   G 

200  Watts.     Reg.  $105.00. 
SPECIAL  $22.50 

Eastman  Kodascope  "A" 

250   W.      Reg.    $180.00 
SPECIAL  $39.50 

Agfa    Ansco    De    Luxe 

200   W.      Reg.   $125.00. 
SPECIAL  $29.50 

16  MM   Leader  film  100  ft.. 


Eastman   Kodascope  "D 

400  W.      Reg.   $72.00. 
SPECIAL  $57.50 

Eastman   Kodascope  "K" 

250   W.      Reg.    $150.00 
SPECIAL  $74.50 

Peko — 50     Watts,     brand     new 

Reg.   $19.00 
SPECIAL  $12.95 

50  ft 


75c; 


.45c 


Central    Rewind    &    Free    Wheeling    Post,    16    MM.   for    100   foot 
reels  or  smaller,  all  metal.     Reg.  $4.00  value.     SPECIAL $2.95 

WRITE  for  Free  copy  Central's  new    1936  "U"   Book — 32   pages 
of  used    BARGAINS   in   everytliing    photographic. 


CAMERA  CO 


230  S.  WABASH,  DEPT.  7185,  CHICAGO 
PHOTOGRAPHIC  HEADQUARTERS  SINCE    1899 


Among  The  Mdsazines 

(Concluded  jrom  payc  1-17) 

tation  to  the  group,  continuity  of  film  content,  and 

the  nature  of  the  titling. 

(11  :4-7,  Feb.  '36)  "Motion  Pictures  and  the  Social 
Sciences,"  by  Dr.  Frederic  M.  Thrasher.  New 
York  University. 

The  motion  picture  is  a  powerful  device  for  im- 
parting information,  but  what  is  more  significant, 
it  stimulates  the  emotions  and  changes  social  atti- 
udes,  which  are  the  very  dynamics  of  social  action. 
Social  disorganization  has  been  a  striking  charac- 
teristic of  American  life  since  before  the  World 
\\'ar.  The  War  and  the  Depression  were  not  the 
causes  of  disorganization,  l)ut  accentuated  the  dis- 
integrating elements.  Social  inadequacy  and  lack 
of  articulation  of  social  institutions  are  the  cause 
of  a  host  of  problems  of  gra\e  importance.  Both 
adults  and  children  must  be  given  training  in  the 
social  sciences,  and  for  each  there  is  no  more  potent 
instrument  of  education  than  the  motion  picture. 
Information,  however,  is  not  sufficient;  the  will  to 
act  for  democracy  must  be  induced.  "Citizenship, 
therefore,  does  not  depend  upon  information  alone, 
but  upon  the  habits  of  feeling  and  acting  which  are 
deeply  rooted  in  our  sentiments  and  attitudes."  It 
has  been  proved  that  the  motion  picture  can  create 
sentiments  and  change  attitudes.  The  significance 
of  the  picture.  The  Story  of  Louis  Pasteur,  is  not  that 
it  presents  the  accurate  techniques  of  science,  "but 
that  is  is  deeply  touching,  that  it  moves  its  audience 
to  tears  for  social  values  that  are  truly  significant 
and  not  the  maudlin  sentimentality  of  the  'tear- 
jerker'."  The  writer  ranks  this  as  the  greatest  edu- 
cational film  yet  produced.  He  rates  The  Human 
Adventure  of  Dr.  Breasted  in  the  same  class,  but  the 
purpose  of  the  latter  is  clarity  of  explanation  pre- 
sented with  dramatic  cogency. 


I 


-May,  1936 


Page  161 


Round  Out  Your 
Classroom  Film  Library 

.  .  .  bring  your  film  material  up  to  date 
before  the  fall  semester  gets  under  way 


pheric  Pressure — Compressed  Air — Elec- 
tricity (3  reels) — ^The  Green  Plant — 
Illumination — Behavior  of  Light — Mi- 
croscopic Animal  Life — Life  History  of 
the  Yellow  Fever  Mosquito — Refining 
Crude  Oil — Optical  Instruments — Re- 
frigeration— Sand  and  Clay — Formation 
of  Soil  —  Steam  Power — Termites — 
Volcanoes — The  Water  Cycle — Water 
Power  —  Purifying  Water  —  Weather 
Forecasting. 


HEALTH 

No  classification  of  Eastman  Classroom 
Films  has  proved  more  valuable  than 
the  38  reels  on  health  topics.  Check  the 
following  titles  with  your  present  list. 
Bacteria— The  Blood — Body  Framework 
— Breathing — The  Living  Ceil — Circu- 
lation— Circulatory  Control — Cleanli- 
ness (4  reels}— Digestion — Diphtheria 
— The  Feet — First  Aid  (4  reels) — Food 
and  Growth — Good  Foods  (4  reels) — 
Home  Nursing  (3  reels) — The  House 
Fly — Mold  and  Yeast — Muscles — Pos- 
ture— Sewage  Disposal — The  Skin — 
Street  Safety  (for  primary  and  advanced 
grades) — Care  of  the  Teeth — How 
Teeth  Grow — Tuberculosis  and  How  It 
May  Be  Avoided. 


SPORT 

Under  this  heading  Eastman  offers  two 
outstandingly  successful  pictures,  each  in 
two  reels.  Modem  Football  Fundamentals 
was  prepared  under  the  direction  of 
Coach  Harry  Kipke  of  the  University  of 
Michigan.  Modern  Basketball  Fundamen- 
tals was  directed  by  Coach  F.  C.  Allen 
of  the  University  of  Kansas. 


SCIENCE 

The  following  is  a  partial  list  of  the 
widely  used  Eastman  films  on  science 
subjects.  All  of  the  42  available  reels  are 
outUnedintheDescriptive  List  of  Eastman 
Classroom  Films  (see  coupon).   Atmos- 


GEOGRAPHY 

Eastman  Classroom  Films  on  geography 
total  86.  Here  are  some  of  them :  Alaska 
— Argentina — Automobile — From  Ba- 
hamas to  Jamaica — Bolivia — Brazil  (2 
reels)  —  Cattle  —  Central  America  — 
Chesapeake  Bay  —  Chile  —  Anthracite 
Coal — Bituminous  Coal — Coffee — Corn 
— Cotton  Goods — Cotton  Growing — 
Denmark — Dutch  East  Indies — Finland 
— Flax  to  Linen — Gold — Golden  Gate 
— Haiti  to  Trinidad — Hawaiian  Islands 
— Hungary — Iron  Ore  to  Pig  Iron — 
Lead — Leather — London — Market  Gar- 
dening— Meat  Packing — Mexico — Mo- 
hawk Valley — New  England  Fisheries 
(2  reels) — New  Orleans — Producing 
Crude  Oil — Pacific  Coast  Salmon — Pan- 
ama Canal — Peru — Philippine  Islands — 
Pig  Iron  to  Steel — Pueblo  Dwellers — 
Puerto  Rico — Railroad  Safety — Salt 
—  Silk  —  Continent 
of  South  America — 
Sweden  —  Tin  — 
Virginia — Wheat — 
Wheat  to  Bread — 
Woolen  Goods. 


NATURE 

29  effective  films  on  nature-study  sub- 
jects. Among  them  are:  Adventures  of 
Peter — Bears — Beavers — Birds  (6  reels) 
— Luther  Burbank — Animals  of  the  Cat 
Tribe — Flower  to  Fruit — Wild  Flowers 
— Water  Insects — Mammals  (2  reels) — 
Monkeys  and  Apes  —  Oysters  —  The 
Raccoon — Reptiles — Seals  and  Walruses 
— Spiders — Under-Sea  Life. 


Eastman 
Classroom  Films 


(or  this  booklet  if  you  have 

not  received  your  copy 


The  Descriptive  List  of  Eastman  Classroom  Films 
will  h<lp  you  brjns  your  film  library  up  lo  dati. 
If  you  do  not  have  a  copy  in  your  files,  mail  this 
coupon  today  . . .  Eastman  Kodak  Co.,  Tcachinf 
Films  Division,  Rochester,  N.  Y. 


Name_ 


School  Addrtss_ 
City  and  5tdlc_ 


Page  162 


The  Educational  Scree* 


Among  the  Producers 


Two  New  Silent  Victor? 

Two  additions  have  been  made  to  the  extensive  hne 
of  silent  16  mm.  Master  Projectors.  The  new  Model 
11  is  an  attractive  and  efficient  instrument  in  the  mod- 
erate price  range.  Mechanically  and  optically,  it  is 
identical  to  the  well-known  Victor  Model  hi-power 
optical  system,  super-efficient  spira-draft  ventilation, 
the  new  swing-out  lens  mount  with  integral  mechanical 
framer,  and  numerous  other  attractive  features,  in- 
cluding, four-in-one  control,  pilot  light,  lamp  switch, 
motor  switch,  "still"  projection,  reverse  action,  power 
rewind,  etc.  Standard  lamp  equipment  of  the  Model 
11  will  be  the  500  watt,  110  volt  Mazda.  The  projec- 
tor will,  however,  accommodate  the  powerful  750 
watt  lamp,  which  will  be  supplied  on  order  at  a  slight 
additional  cost.    Standard  lens  is  2".  F  1.85. 

The  new  Model  22  Victor  is  permanently  housed  in 
a  "blimp"  type  case  which  entirely  encloses  the  pro- 
jector during  projection.  Reel  arms  accommodate 
1600  ft.  reels,  making  it  possible  to  make  a  full  one- 
hour  presentation  without  need  for  stopping  to  change 
reels.  Mechanically  and  optically  the  Model  22  is 
identical  to  Model  11,  except  that  is  has  a  faster  lens 
(F   1.65)   and  a  special   motor  with  rewind  working 


Keystone 
500  Watt 
Projector 

with 

Deluxe  Case 
Brand     New 

$55.00 

Net  Cash 

while  they  last 
until  (15)  of 
these  are  sold. 


One  of  the  best  buys  of  the  year — for  auditonum  or  class- 
room. Complete  with  500  watt  lamp — i  1.65  Auditorium  Lens 
— Forward  and  reverse — high  speed  rewind — pilot  light — 
powerful  ventilating  fan — projects  stills — framer — handle — 
complete  with  case — will  project  14  Ft.  wide  picture — with 
perfect  illumination. 

ORDER  FROM 

SUNNY  SCHICK 

Nationai  Brokers 
407  W.  WASHINGTON   BLVD.,   FORT  WAYNE,   INDIANA 


The  New   Model  11 


Where  the  commercial  firms — whose  activities  have  an 
important  bearing  on  progress  in  the  visual  field — 
are  free  to  tell  their  story  in  their  own  words.  The 
Educational  Screen  is  glad  to  reprint  here,  within  nec- 
essary space  limitations,  such  material  as  seems  to  have 
most    informational    and    news    value    to    our    readers. 

direct  from  the 
shaft.  The  rapid 
p  o  w  e  r  re  w i n d , 
which  functions  at 
the  t  o  u  c  li  of  a 
small  lever,  is  an 
especially  attractive 
feature.  Standard 
lamp  equipment  of 
the  22  is  the  750 
watt.  110  volt 
Mazda.  It  will,  of 
course,  accommo- 
date lamps  of  500 
watt  and  lower 
ratings. 

Filmo  8  mm.  Speed  Cameras 

The  superspeed  model  of  the  Bell  and  Howell  Filmo 
"Straight  8"  camera,  using  the  pre-split  Filmopan  8 
mm.  film,  has  proved  so  popular  that  Bell  &  Howell 
now  announce  a  superspeed  model  of  the  Filmo 
"Double  8"  camera,  which  uses  Eastman  8  mm.  film. 
The  new  superspeed  "Double  8"  will  make  available 
four  speeds — 16,  32,  48,  and  64.  Otherwise  it  is  iden- 
tical with  the  regular  speed  Filmo  "Double  8"  camera, 
which  operates  at  8,  16,  24,  and  32  speeds.  The  in- 
troduction of  this  new  "Double  8"  model  is  actuated 
by  Bell  &  Howell's  desire  to  give  the  8  mm.  user  much 
of  the  versatility  afforded  16  mm.  camera  owners. 

New  Eastman  Products 

Important  news  of  the  month  is  the  announcement 
by  the  Eastman  Kodak  Company  of  a  new  type  of 
Kodachrome  film  for  use  with  artificial  light,  and  a 
new  low  priced  16  mm.  projector,  Kodascope  E. 

Heretofore,  in  order  to  obtain  satisfactory  interior 
exposures  with  regular  Kodachrome,  the  amateur  had 
to  use  more  light  than  the  average  house  is  fused  to 
carry,  and  a  blue  filter  was  necessary  to  compensate 
for  the  redness  of  artificial  light  as  compared  with  day- 
light. With  this  new  type  of  Kodachrome,  which  is 
extremely  blue  sensitive,  no  such  filter  is  necessary. 
The  film  is  about  four  times  the  speed,  or 
two  diaphragm  openings  faster,  than  is  the 
regular  Kodachrome  with  artificial  light  and  filter. 
This  new  film,  designated  Type  "A",  is  balanced  for 
the  light  of  the  inexpensive  and  readily  available 
Photoflood  lamps  but  will  also  render  very  excellent 
results  with  new  regular  tungsten  filament  lamps.  For 
white     flame     carbon     arcs     the      regular     daylight 


I 


May,  1936 


Page  163 


16  MM 

PROJECTOR 

BARGAIN 


VICTOR    Model    lOFH 

complete  with  case 
Former   Value    $172.50 
=  Offered   for    $75^00 


:Only 


Projector  practically  good  as  new.  Used  Few  times 
only  as  demonstrator.  Carries  factory  guarantee. 
Equipped  with  400-watt  bulb  (inter-changeable  with 
500-watt  bulb).  Will  give  excellent  service  in  class- 
room or  similar  work. 

ADDRESS: 

EDUCATIONAL 

Box  640 


SCREEN 

64  E.  Lake  St.,  Chicago 


Kodachrome  film  should  be  used.  Since  the  new  film 
is  extremely  blue  sensitive,  care  must  be  exercised  to 
exclude  all  daylight  from  the  room  when  artificial  light 
pictures  are  made.  Type  "A"  is  similar  to  the  regular 
daylight  Kodachrome  in  that  exposures  must  be  judged 
fairly  accurately  to  obtain  the  best  results,  and  also  the 
subject  contrast  must  be  kept  low  by  the  use  of 
soft,  flat  lighting.  It  may  also  be  used  in  daylight 
with  an  orange  filter  to  compensate  for  its  blue  sen- 
sitivity ;  its  speed  to  daylight  with  the  filter  being  about 
the  same  as  regular  Kodachrome  without  a  filter.  This 
filter  will  be  available  in  the  near  future.  The  price  of 
Type  "A"  is  the  same  as  regular  Kodachrome  film. 

A  projector  priced  as  low  as  $54.50,  including  lens 
and  lamp,  should  be  inexpensive  enough  to  fit  anyone's 
pocketbook.  In  addition  to  its  attractive  price  the 
new  Kodascope  E  is  new  in  style,  design  and  per- 
formance. It  includes  such  standard  equipment  as  a 
400-watt  lamp,  giving  more  than  ample  illumination 
for  showing  Kodachrome,  and  a  2-inch  f.2.5  lens.  If 
maximum  illumination  is  desired,  however,  a  2-inch 
f.1.6  lens  and  750- watt  lamp  equipment  can  be  had 
at  a  small  added  cost.  By  a  simple,  ingenious  arrange- 
ment, the  base  of  Kodascope  E  fits  down  snugly  over 
the  handle  on  the  top  of  its  carrying  case,  which  is 
priced  at  $12.00,  and  eliminates  the  bother  of  setting 
up  or  clearing  off  a  table  when  movies  are  to  be  shown. 
It  uses  either  A.C.  or  D.C.,  100  to  125  volts.  Other 
features  are  proper  lubrication,  simplified  threading, 
and  motor  driven  rewind.  The  machine  accommodates 
400-foot  reels. 

Mogull  Film  Catalog 

The  sixth  edition  of  the  Mogull  film  rental  catalog 
is  ready  and  will  be  supplied  free  upon  request  to 
Mogull  Brothers,  1944  Boston  Road,  New  York  City. 
This  library  ofl^ers  an  extensive  selection  of  16mm 
silent  motion  pictures  —  dramas,  comedies,  cartoons, 
sports,  travel,  religious,  education  and  miscellaneous 
subjects. 


FREE 


If  you  w^ant  one  of  the  latest  16  mm. 
sound  -  on  -  film  projectors,  without  any 
down    payment,   and    rent   free  — 

If  you  would  like  to  show^  Dicken's  "Great 
Expectations"  and  other  selected  pictures 
featuring  famous  stars  — 

Write  for  our  School  Plan  A  and  our 
Sound-on-Film   Catalogue. 

nLois 

uiiijiiiiiUiiiiumrm 

£^«A  Homt  f  iLfn  iififtAflies.  inc. 
330    WEST   42nd   STREET.  NEW   YORK   CITY 


16-mm  TALKING  or  SILENT  PROJECTOR 
FOR  YOUR  SCHOOL 

Without  a   Cash   Payment 

Our  library  of   16mm. 

SOUND  and  SILENT  EDUCATIONAL  FILMS 

Is  One  of  the  Largest  in  the  U.  S.  A. 

CATALOGUE   FREE 

IDEAL     PICTURES     CORPORATION 

30   EAST  EIGHTH   STREET  CHICAGO,  ILL. 


16  MM.  SOUND-ON-FILM  for  RENT 

Lists  are  free  —  either  sound  or  silent  films. 
Our    rates    (we    honestly    believe)    are    the    lowest   in    the    U.    S.    A. 

All  programs  unconditionally  guaranteed. 

All   poBtage  on   films  —  both  to   and  from  destination  —  paid  by   us. 

We  are  organized  for  service — not  for  profit. 

May  we  save  you  money  on  your  equipment  ?     Try  us ! 

THE     MANSE     LIBRARY     *»' "'cSna*"o. ''''"" 


TKe  PARTICULAR  MOVIEMAKER 

LOOKS  FOR     PERFECTION  in  PROJECTION 

He   finds    rt,    now,    In    Briteiite-Truvision    Screens   whose 
novel   improvements   include   a   screen   cloth   which   will 
retain   its   basic  white  for  a   longer  period   and,   in   the 
De   Luxe   'A'  Screen,   a   simplified   method   of 
releasing   the   screen   from   the   box  instantly. 

BRITELITE-TRUVISION 
CRYSTAL     BEADED     SCREENS 


retain   i 

D 


At   all   Dealers  — 


Literature   on    Request 


Motion   Picture  Screen   &   Accessories  Co., 


528  WEST  26th  STREET 


NEW  YORK 


MAKE   YOUR   OWN 

TYPEWRITER     SLIDES 

For    Screen    Projection 

USE        RADIO        MATS 

on    sa  e    by   Theatre   Supp'y    Dealers 
Write   for   Free  Sample 

RADIO-MAT  SLIDE  CO.,  Inc. 

IS19  Broadway  Dept.V.  New  York  City 


Page  164 


The  Educational  Screen 


Here    Thev    A 


re 


FILMS 

R.  B.  Annis  Company  (6) 

1505  E.  Michigan  St.,  Indianapolis,  Ind. 
Bray  Pictures  Corporation  (3,  6> 

729  Seventh  Ave.,   New  York  City 
Eastin  16  mm.  Pictures  (6) 

(Rental  Library)  Davenport,  la. 
Eastman  Kodak  Co.  (4) 

Rochester,  N.  Y. 

(See  advertisement  on  outside  back  cover) 

Eastman  Kodak  Co.  (1,  4) 

Teaching  Films  Division 

Rochester,  N.  Y. 

(See  advertisement  on  paKe  161) 

Eastman  Kodak  Stores,  Inc.  (6) 

1020    Chesnut    St.,    Philadelphia,    Pa 
606  Wood   St.,   Pittsburgh,   Pa. 

Edited  Pictures  System,  Inc.  (1,  4) 
330  W.  42nd  St.,  New  York  City 

Films  Incorporated  (5) 

330  W.  42nd  St.,  New  York  City 

(See  advertisement  on  page  163) 

Walter   O.    Gutlohn,   Inc.  (5) 

35  W.  4Sth   St.,  New  York  City 
(See  advertisement  on  page  159) 

Harvard  Film  Service  (3,  6) 

Biological    Laboratories, 

Harvard  University,  Cambridge  Mass. 
Guy  D.  Haselton's  TRAVELETTES 

7901  Santa  Monica  Blvd.,  Hollywood, 
Cal.  (1,  4) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  Chicago,  111. 

(See  advertisement  on  page  163) 

Institutional  Cinema  Service,  Inc.  (3,  6) 

130  W.  46th  St.,  New  York  City 

The  Manse  Library  (4,  5) 

2439  .''luburn    Ave..   Cincinnati.   O. 
(See  advertisement  on  page  163) 

Pinkney  Film  Service  Co.  (1,  4) 

1028   Forbes    St.,    Pittsburgh,    Pa. 
Ray  Bell  Films,  Inc.  (3,  e) 

2269  Ford  Rd.,  St.  Paul,  Minn. 
United  Projector  and  Films  Corp.  (1,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Pictures   Corp.  (3) 

Rockefeller   Center,    New   York   City 

(See  advertisement  on  page  158) 

Visual  Education  Service  (6) 

470    Stuart    St.,    Boston,    Mass. 

Wholesome  Films  Service,  Inc.  (3,  4) 
48  Melrose   St.,  Boston,  Mass. 

Williams,  Brown  and  Earle,  Inc  (3,  6) 
918  Chestnut  St.,  Philadelphia,  Pa. 

MOTION  PICTURE 
MACHINES  and  SUPPLIES 

The  Ampro  Corporation  (6) 

2839  N.  Western  Avenue,  Chicago 

(See  advertisement  on  page  134) 

R.  B.  Annis  Company  (6) 

1505  E.  Michigan  St.,  Indianapolis,  Ind. 

Bell  &  Howell  Co.  (6) 

1815    Larchmont    Ave.,    Chicago,    111. 

(See  advertisement  on  inside  back  cover) 

Central   Camera   Co.  (6) 

230  S.  Wabash  Ave..  Chicago 

(See  advertisement  on  page  160) 

Eastman    Kodak    Co.  (4) 

Rochester,   N.   Y. 

(See  advertisement  on  outside  back  cover) 


Eastman  Kodak  Stores,  Inc.  (6) 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St..  Pittsburgh,  Pa. 

Edited   Pictures  System,  Inc.  (1) 

330  W.  42nd   St.,   New  York  City 

Herman   A.   DeVry,   Inc.  (3,   6) 

1111    Center    St.,    Chicago 

(See  advertisement  on  page   153) 

Holmes  Projector  Co.  (3) 

1813  Orchard  St.,  Chicago 

(See  advertisement  on  page  159) 

Ideal  Pictures  Corp.  (3,  6) 

30  E.  Eighth  St.,  New  York  City 

(See  advertisement  on  page  163) 

International   Projector   Corp.        (3,  6) 
90  Gold  St.,  New  York  City 
(See  advertisement  on  inside  front  cover) 

Motion  Picture  Screen  & 
Accessories  Co.  (3,  6) 

524  W.  26th  St.,  New  York  City 

(See  advertisement  on  page  163) 

National  Camera  Exchange  (6) 

S  South  Fifth  St.,  Minneapolis,  Minn. 
RCA  Manufacturing  Co.,  Inc.  (5) 

Camden,   N.  J. 

(See  advertisement  on  page  151) 

Regina  Photo  Supply  Ltd.  (3,  6) 

1924   Rose    St.,   Regina,    Sask. 

S.  O.  S.  Corporation  (3,  6) 

1600  Broadway,  New  York  City 

Sunny  Schick,  National  Brokers  (3,  6) 
407   W.   Washington   Blvd. 
Fort  Wayne,  Ind. 

(See  advertisement  on  page  162) 

United  Projector  and  Film  Corp.  (3,  4) 

228  Franklin  St.,  Buffalo,  N.  Y. 
Universal  Sound  System,  Inc.         (2,  5) 
Allegheny   Ave.   at   Ninth   St. 
Philadelphia,  Pa. 

(See  advertisement  on  page  155) 

Victor  Animatograph  Corp.  (6) 

Davenport,   Iowa 

(See  advertisement  on  page  136) 

Visual  Education  Service  (6) 

470  Stuart  St.,  Boston,  Mass. 

Weber  Machine  Corp.  (2,  5) 

59  Rutter  St.,  Rochester,  N.  Y. 

(See  advertisement  on  page  156) 

Williams,  Brown  and  Earle,  Inc.  (3,  6) 

918  Chestnut  St.,  Philadelphia,  Pa. 

PICTURES 

The  Photoart  House 

844   N.   Plankinton   Ave.,   Milwaukee, 
Wis. 

(See  advertisement  on  page  158) 

SCREENS 

Da-Lite  Screen  Co. 

2721    N.    Crawford   Ave.,   Chicago 

(Sec  advertisement  on  page  155) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 
606  Wood  St.,  Pittsburgh,  Pa. 
Motion  Picture  Screen  &  Accessories  Co. 
524  W.  26th  St.,  New  York  City 

(See  advertisemoTit  on  page  163) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 

SLIDES  and  FILM  SLIDES 

Conrad  Slide  and  Projection  Co. 

510  Twenty-second  Ave.,   East 
Superior,  Wis. 


A    Tra(de     Directory 
for  the   Visual    Field 


Eastman  Educational  Slides 

Iowa  City,  la. 
Edited    Pictures   System,    Inc. 

330  W.  42nd   St.,  New  York  City 
Ideal  Pictures  Corp. 

30  E.   Eighth   St.,   Chicago,   111. 

I  See  advertisement  on  page  163) 

Keystone  View  Co. 
Meadville,   Pa. 

(See  advertisement  on  page  157) 

Radio-Mat  Slide  Co.,  Inc. 
1819  Broadway,   New   York  City 

(See  advertisement  on  page   163) 

Society  for  Visual  Education 
327  S.  LaSalle  St.,  Chicago,  III. 

Spencer   Lens   Co. 
19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  157) 

Visual  Education  Service 
470  Stuart  St.,  Boston,  Mass. 

Visual  Sciences 
Suffern,  New  York 

(See  advertisement  on  page  160) 

Williams,  Brown  and  Earle,  Inc. 
918  Chestnut  St.,  Philadelphia,  Pa. 

STEREOGRAPHS  and 
STEREOSCOPES 

Herman  A.  DeVry,  Inc. 

1111   Center   St.,   Chicago 

(See  advertisement  on  page  153) 

Keystone  View  Co. 

Meadville,  Pa. 

(See  advertisement  on  page  157) 

STEREOPTICONS  and 
OPAQUE  PROJECTORS 

Bausch  and  Lomb  Optical  Co. 
Rochester,  N.  Y. 

(See  advertisement  on  page  133) 

Eastman  Kodak  Stores,  Inc. 

1020  Chestnut  St.,  Philadelphia,  Pa. 

606  Wood  St.,  Pittsburgh,  Pa. 
£.  Leitz,  Inc. 

60  E.  10th  St.,  New  York  City 

(See  advertisement  on  page  160) 

Regina  Photo  Supply  Ltd. 

1924  Rose  St.,  Regina,  Sask. 
Society  for  Visual  Education 

327  S.  La  Salle  St.,  Chicago,  111. 
Spencer  Lens  Co. 

19  Doat  St.,  Buffalo,  N.  Y. 

(See  advertisement  on  page  157) 

Williams,  Brown  and  Earle,  Inc. 

918  Chestnut  St.,  Philadelphia,  Pa. 


REFERENCE   NUMBERS 

(1)   indicates    firm   supplies 

35   mm. 

silent. 

(2)   indicates    firm   supplies 

35   mm. 

sound. 

(3)   indicates   firm   supplies 

35   mm. 

sound   and   silent. 

(4)   indicates   firm   supplies 

16   mm. 

silent. 

(5)   indicates    firm   supplies 

16   mm. 

sound-on-film. 

(6)   indicates   firm   supplies 

16   mm. 

sound  and  silent. 

Continuous  insertions  uncJer  one  heading,  $1.50  per  issue;  additional  listings  under  other  headings,  75c  each. 


KftfiMt  Ony.  IM. 
T««eh*rf  LIbrarv 


Educationa 


COMBINED  WITH 


'"■  Li    ■ 


Visual  Instruction  News 


Rocky  Creek  Bridge 

on  the  Oregon  Coast 

Highway 


(Courtesy  of  Oregon  State 
Highway  Commission) 


:A:,,s^ii 


Single      Copies      25c 
•  $2.00    a     Year  • 


^l-t'i=»lia.tiHi*ii£iJil.y  2iJfi 


JUNE 


1936 


Mrn^' 


\ 

PORTABLE 
SOUND  PROJECTOR^ 


/Xf^K      RKC'O 


"4 

iset 

J 


Simplex  Portable  Sound  Projector  and  the  new  Semi-ProfcM 
Sound  Projector  are  particularly  adapted  to  the  special  reqi 
ments  of  small  theatres,  schools,  colleges,  churches,  hotels^ 
pitals,  commercial  organizations,  etc.  The  characteristic  cai 
accuracy  which  have  given  our  products  an  international  re 
tion  are  maintained  throughout  in  the  manufacture  and  asset 
of  Simplex  Portable  Sound  Projectors. 

Superior  sound  and  visual  projection  can  be  secured  unde 
conditions  with  adequate  equipment.    Therefore,  we  give  an  a 

lute  assurance  that  in 
field  for  which  they  ar 
tended  the  results  obta; 
with      Simplex      Port 
Sound    Projectors   are 
actly    the    same    as    t 
secured  with  Simplex 
jectors  and  Simplex  \r 
Sound  Projectors  in 
sands  of   leading   the;  i 
throughout  the  world 


PORTABLE 


/\  rx  K    r»  B  c  c 


SOUND  PROJECTORS 

The  installation  of  motion  picture  equipment  requires 
long  and  serious  consideration  and  we  are  therefore 
pleased  to  receive  inquiries  and  supply  answers  with  a 
full  realization  that  in  many  instances  decisions  cannot  be 
quickly  made. 

Our  products  are  distributed  in  the  United  States  by  the 
NationalTheatre  Supply  Company  and  elsewhere  by  rep- 
resentatives who  are  in  a  position  to  supply  full  informa- 
tion regarding  our  products  and  properly  service  Simplex, 
equipment  after  installation.  We  therefore  will  be 
pleased  to  send  you  catalog  and  prices  or  you  may  com- 
municate directly  with  our  dealers  in  your  locality. 


SIMPLEX  SEMI-PROFESSIO.NAL 
SOUND  PItOJECTOR 
2000'  Type  with  [ncaiidescent  Lamp 


INTERNATIONAL  PROJECTOR  CORPORATIC 


ijune,  193  6 


Page  167 


dito 


rid 


*■ 


W/E  WISH  to  ask  particular  attention 
H  from  our  readers  tf)  the  article  in 
Hhis  issue  entitled  "A  Quarter  Century 
Kf  Non-Theatrical  Films,"  by  Arthur  E. 
^TCrows.  It  was  written  for  the  St.  Louis 
program,  listed  there,  but  not  delivered. 
It  is  the  merest  skeleton  outline  of  the 
author's  elaborate  history  of  the  non- 
theatrical  field  from  the  lowliest  begin- 
nings to  date.  His  manuscript  for  an 
illustrated  book  of  over  500  pages  is 
BB)ractically  completed  and  The  Educa- 
IpiONAL  Screen  is  considering  publica- 
tion of  same.  The  book  will  cover 
completely  and  authoritatively  the  whole 
past  of  the  non-theatrical  and  education- 
1  motion  picture.  We  know  of  no  man 
America  so  qualified  to  present  this 
complex  story  in  final  form  for  perma- 
nent preservation  and  reference.  We 
shall  appreciate  the  reaction  of  our  read- 
ers on  the  desirability  and  im]iortance  of 
such  an  addition  to  the  literature  of  the 
visual  field. 

We  believe  such  a  book  is  needed  and 
that  Arthur  Edwin  Krows  has  written  it. 
His  previous  books,  "Play  Production  in 
America",  "Play  writing  for  Profit", 
"The  Talkies",  and  numerous  articles  in 
magazines  and  encyclopedias,  have  long 
since  established  him  as  a  writer.  In  his 
amazingly  wide  experience  in  the  field  of 
stage  and  screen,  he  has  been  and  done 
the  following:  associate  of  \\'inthrop 
Ames  in  the  famous  Little  Theatre ;  pub- 
licity man  with  old  Triangle  Films,  then 
Goldwyn  Pictures ;  on  original  staff  of 
"The  Film  Daily"  ;  a  director  and  Sec- 
retary of  original  Yale  Chronicles  of 
America ;  on  scenario  staff  of  Famous 
Players-Lasky  and  Vitagraph  Company ; 
production  manager  of  scores  of  non- 
theatrical  films  with  Carlyle  Ellis, 
Wythe's  Screen  Companion,  Eastern 
Films  Corporation  ;  and  many  of  Erpi's 
well  known  educational  talkies  on  Read- 
ing, Infant  Behavior,  Geometry,  Choice 
of  \'ocation  and  others  were  made  by 
him.  In  1934  Mr.  Krows  became  Man- 
aging Editor  of  "The  New  Outlook." 

Out  of  such  experience  Mr.  Krows 
has  written  his  history,  rich  in  detail, 
comprehensive  in  range,  vivid  with  first- 
hand knowledge.  He  has  called  it  "Mo- 
tion Pictures — not  for  Theatre."  Your 
opinions  are  urgently  invited. 

Nelson  L.  Greene 


Educational    Screen 

Combined     with 

Visual    Instruction    News 


JUNE,  1936 

VOLUME     XV  NUMBER     6 


CONTENTS 

A  Quarter-Cen+ury  of  Non-Theatrical  Films. 

Arthur   Edwin    Krows I  69 

A  Visit  to  the  New  England  Capes.     Paul  T.  Williams-...-.l  73 

Suggestions  on  the  Care  of  16  mm.  Film  and  Projectors. 

H.   L   Kooser 1 75 

Distribution — An  Aid  to  Visual  Aids.     Lorraine  Noble 176 

The  Film  Estimates I  78 

Among  the  Magazines  and  Books. 

Conducted  by  Stella  Evelyn  Myers 179 

Department  of  Visual  Instruction. 

Conducted  by  E.  C.  Waggoner.. 181 

Program  of  National  Conference  on  Visual  Education 

and   Film   Exhibition 1 82 

News  and  Notes.    Conducted  by  Josephine  Hoffman 183 

Film  Production  in  the  Educational  Field. 

Conducted  by  F.  W.  Davis 184 

School  Department. 

Conducted  by  F.  Dean  McClusky 188 

Educational  Film  Activities 1 92' 

Among  the  Producers 1 94 

Here  They  Are!   A  Trade  Directory  for  the  Visual  Field....  196 

Contents  of  previous  Issues  listed  In  Education  Index. 


General  and  Editorial  Offices,  64  East  Lake  St.,  Chicago,  Illinois.  Office 
of  Publication,  Morton,  Illinois.  Entered  at  the  Post  Office  at  Morton, 
Illinois,  as  Second  Class  Matter.  Copyright,  June,  1936  by  the  Edu- 
cational Screen,  Inc.  Published  every  month  except  July  and  August. 
$2.00  a  Year         (Canada,  $2.75;  Foreign,  $3.00)         Single  Copies,  25  cts. 


THE  EDUCATIONAL  SCREEN.  Inc. 

DIRECTORATE  AND  STAFF 


Herbert   E.  Slaught,   Pres. 
Nelson  L.  Greene,  Editor 
Evelyn  J.  Baker 
Mary  Beattie   Brady 
F.  W.  Davis 


Stanley   R.  Greene 
jDsephine   Hoffman 
F.   Dean   McClusky 
Stella  Evelyn  Myers 
E.  C.  Waggoner 


Page  168 


The  Educational  Screen^ 


IN    THE    NEW    'AMPROSOUND'    SERIES    O 
INEXPENSIVE  SOUND-ON-FILM  PROJECTOR: 


complete 


Quality    at    a     Low    Pric< 

"Quality  at  a  low  price"  sums  up  the  newl 
Amprosound  series.  Quality  beyond  expectation, 
quality  associated  with  expensive  equipment. 
Clear,  undistorted  sound,  with  brilliant  illumi- 
nation, makes  an  Amprosound  showing  equal  to 
that  of  a  professional  theatrical  performance. 
Superiority  of  performance  plus  the  extremely 
low  price  give  Amprosound  the  undisputed 
leadership  in  the   16mm.  field. 

Compact— Easily  Portable 

Two  small  lightweight  carrying  cases  house  the 
entire  Amprosound  unit  .  .  .  small  and  light 
enough  in  weight  so  that  both  units  may  easily 
be  carried  by  one  person.  This  feature  makes 
the  Amprosound  especially  well  adapted  for  use 
by  those  having  traveling  performances.  Just  a 
flip  of  the  latch  .  .  .  the  case  is  open  and  the 
projector  is  easily  removed  in  one  complete  unit. 
Swivel  the  reel  arms  into  operating  position, 
plug   in   the   cables   and    the   "show^   is   on." 

Simplicity    of    Operation 

The  Amprosounds  have  been  especially  designed 
so  that  anyone  can  easily  operate  them  under 
diversified  conditions.  Threading  is  simplified 
by  the  use  of  guides  so  that  the  film  finds  its 
proper  position  almost  automatically.  No  longer 
need  you  worry  about  the  type  of  current 
.  .  ,  no  converters  are  required.  If  the  current 
is  1 00-1 2  5  volts,  regardless  of  whether  it  is 
D.C.  or  A.C.  or  any  cycles,  just  plug  in. 


'•AMPROSOUND'" 
Projectors  have 
many  unusual  and 
exclusive  features. 
They  are  designed 
to  conform  with 
U  n  d  er  writers' 
Laboratories'  re- 
quirements. Li- 
censed un  der 
Western  Electric 
patents.  Let  your 
dea  ler  demon- 
strate the  new 
A  m  prosound 
without  obligation. 
Write  today  for 
free  complete  de- 
scriptive   circuliir. 


C  ClRJPClR^ICKIDiS 

2839-5/  NOHTH  WESTERN  AVENUE 
CHICAGO,       ILLINOIS 


June,  1936 


Page  169 


A  Quarter-Century  of  Non-Theatrical  Films 


IX  THE  spectacular  rise  of  the  theatrical  motion 
picture  industry  since  the  start  of  the  century,  it 
probably  is  not  surprising  that  the  dazzling  sur- 
face developments  have  made  it  difficult  to  see  the 
lesser  trends  within  —  particularly  the  continuous 
and  steady  growth  of  the  use  of  motion  pictures  in 
education.  Even  amid  origins  and  developments  so 
recent,  there  may  be  lessons  of  which  the  world  is 
not  now  fully  conscious. 

Anent  the  time,   then,   when   historians   may   make 
their  better  evaluations  in  a  longer  perspective,  it  is 
at  least  helpful  to  establish  the  original   facts  while 
they  may  be   captured.    It   is   worth   mentioning  that 
many  probably  useful  records  of  fact  in  the  history  of 
"non-theatrical  films,"  are  even  now  fading  from  our 
grasp.  Unless  some  effort  is  made  to  preserve  them, 
they  may  be  irretrievably  lost — the  witnesses  are  dying 
off.  Thomas  A.  Edison  is  gone — also,  George  Eastman, 
Charles  Urban,  George  Kleine,  Thomas  Finegan.  Just 
recently  the  names  of  George  A.  Skinner  and  Rufus 
Steele  have  been  added  to  that  same  depressing  section 
in  our  visual  statistics.  No  longer  may  we  have,  from 
their  lips,  precious  testimony  on  what  they  have  done. 
Giving  serious  attention  to  the  matter,  one  is  sur- 
prised and  somewhat  disturbed  to  discover  that  the 
history  is  possibly  not  so  recent.  Since  motion  pictures 
were  first  introduced  importantly  as  classroom  appar- 
atus in  the  United  States,  a  quarter  of  a  century  has 
elapsed !  To  be  exact,  twenty-five  years  plus  one  have 
come  and  gone  since  a  collection  of  one  thousand  films, 
grouped  under  such  headings  as  Geography,  Physics, 
Literature  and  Natural  Science,  was  made  available  to 
the  New  York  City  Board  of  Education.     That  event 
occurred  as  long  ago  as  an  evening  in  February,  1910, 
meaning  that  one  year  ago,  this  month,  might  have 
been  observed  the  silver  wedding  anniversary  of  school 
and  film.*  The  quarter  century  interval  has  been  oc- 
cupied  mainly   in   developing   the   instrument,    rather 
than  in  applying  it.  The  latter,  obviously,  is  the  great 
work  of  the  future.  It  was,  of  course,  necessary,  first 
of  all,  to  make  the  instrument  mechanically  efficient, 
practical  and  feasible  to  use ;  and  while  some  phases 
remain  still  to  be  perfected — notably  color  and  stereo- 
scopy — most  of  the  work  has  been  done  far  enough  to 
assure  smooth  operation  if    one    will    just    take    the 
trouble  to  apply  known  principles.    Consequently,  one 
may  think  of  this  first  quarter  century  of  non-theatrical 
films  as  establishing  the  great  material  basis  for  the 


Editor's  Note — The  above  was  prepared  as  an  address  to  be  given  by 
Mr.  Krows  at  the  Department  meeting  in  St.  Louis  last  February.  It 
was  one  of  two  papers  on  the  program,  writers  of  which  were  not 
present  to  deliver  them  personally,  which  had  to  be  omitted  because  of 
overcrowded  schedule. 

Further  reference  to  this  article  will  be  found  on  page  167  of  this 
issue. 


By      ARTHUR      EDWIN      KROWS 

Formerly  Managing  Editor,  The  New  Outlook,  New  York  City 

really  significant  developments  to  come. 

Historically   speaking,   the   period   of   establishment 
now   rounded  out  may  be   divided   into   seven  parts. 
The  divisions  fall  naturally,  easily  and  coincidentally 
with  chapters  of   our  national  progress  in  the   same 
period.  The  first  division  covers  the  half  dozen  years 
immediately  preceding  our  entry  into  the  World  War, 
and  is  occupied  with  the  branching  of  the  non-theatrical 
bough  from  the  main  theatrical  trunk — the  realization 
that  proper  films  for  churches,  clubs  and  schools  are 
peculiarly    different    from    the    sheerly    entertainment 
product.    Wartime    represents    the    second    phase,    in 
which  the  isolated  pictures  developed  to  serve  in  the 
first,  are  brought  together  for  emergency  showings  in 
cantonments  and  behind  the  lines,  and  so,  when  the 
War  is  over,  constitute  a  source   of   supply   for  the 
non-theatrical     users    who  have    multiplied    with    the 
years.  Third  is  the  time  of  the  first  vigorous  rise  of 
producers  making  material  exclusively  for  this  field. 
Fourth  is  the  impetus  given  to  school  pictures  by  the 
start  of  the  visual  education  movement.  Fifth  is  when 
the    specialized    users    of    non-theatrical    films    decide 
that  they  are  more  competent  than  any  uninitiated  out- 
siders to  provide  what  they  need,  and  undertake  to 
produce  their  own  pictures.  Sixth  is  the  result  of  the 
discovery  that  there  is  little  use  in  making  pictures  of 
restricted  appeal  if  there  is  no  efficient,  dependable  or- 
ganization of  places  in  which  to  show  them^ — in  other 
words,   the  preliminary  steps  toward  a  national  sys- 
tem of  distribution.  Seventh,  and  last,  is  the  revolution 
in  all  departments  wrought  by  the  coming  of  sound. 
In  each  of  these  links  with  the  present  there  is  an  un- 
suspected richness  of  romance,  human  interest,  heroic 
example  and  suggestive  experiment. 

The  retrospect  shows  a  record  in  which  the  "great 
man"  and  "social-and-economic-trend"  theories  of  his- 
tory are  about  equally  demonstrated.  Casual  attention 
naturally  goes  first  to  the  human  interest  aspect,  and 
there  are  many  glamorous  figures  to  carry  on  the  story  ; 
but  the  social  and  economic  trends  are  engrossing 
enough,  too — because,  remember,  all  of  this  occurs 
since  the  start  of  the  century  that  has  brought,  to  mold 
its  swiftly  changing  life,  the  automobile,  the  airplane, 
the  incandescent  light,  the  dynamo-motor,  the  radio, 
the  talking  picture  and  many  other  magical  inventions 
that,  while  originating  earlier,  perhaps,  did  not  come 
into  full  play  until  this  kaleidoscopic  time. 

Motion  pictures,  of  course,  date  back  to  the 
seventies  and  eighties.  They  were  being  shown  in  the 
theatres,  along  with  vaudeville  turns,  in  the  nineties. 
But  until  about  the  end  of  the  first  decade  of  the  pres- 
ent century,  there  were  no  recognizable  subdivisions ; 
thev  were  all  theatrical  subjects.  Anything  that  had  the 


Page  170 


The  Educational  Screen 


illusion  of  movement  on  the  screen,  within  the  limita- 
tions of  the  new  medium,  qualified  as  proper  enter- 
tainment— and  consequently  a  vast  amount  of  what 
would  now  be  disdained  by  the  theatrical  exhibitor  as 
"educational"  (he  uses  the  term  slightingly),  com- 
prised the  early  programs. 

Preliminary  Stage 

Reference  has  been  made  to  seven  stages  of  de- 
velopment ;  but  those  all  came  after  non-theatricals 
have  veered  away  as  a  separate  branch  of  the  tree. 
If  one  wants  to  think  of  this  very  early  period  as  an 
eighth,  preliminary  stage,  dominant  figures  later  to  be 
of  great  non-theatrical  importance  are  still  easily  to  be 
found.  The  redoubtable  Lyman  Howe,  of  Wilkes- 
Barre,  for  instance,  was  then  in  his  heydey  with  his 
travelling  motion  picture  shows,  exhibited  over  the 
lyceum  circuits.  He  presented  them  frequently  on  Sun- 
days as  refined  educational  entertainment,  not  for  an 
instant  to  be  classed  with  the  "sinful,  shameless" 
stage  plays  which  were  obliged  to  close  each  week  in 
a  burst  of  glory  on  Saturday  night. 

A  far  greater  figure  of  that  early  time,  destined  to 
wield  a  benign,  powerful  influence  over  American 
non-theatricals  almost  until  the  advent  of  the  talking 
picture,  was  Charles  Urban,  a  naturalized  Englishman. 
He  began  that  influence  on  America  long  before  com- 
ing to  it.  In  the  first  few  years  of  the  century,  as 
probably  the  foremost  motion  picture  producer  and 
exhibitor  in  Great  Britain,  Urban,  cooperating  with 
educators,  encouraged  the  production  of  those  time- 
lapse  miracles  of  flowers  that  bud,  bloom  and  wither 
in  a  few  seconds,  pictures  of  microscopic  life,  a  wealth 
of  color  films,  and  what  we  now  know  as  scientific  ani- 
mation, along  with  much  more  of  distinct  teaching 
value. 

While  Urban  was  still  in  London,  engaging  the  in- 
terest of  school  administrators  there  in  the  facilities 
and  treasures  of  his  "Urbanoria  House",  as  he  called 
his  main  enterprise,  George  Kleine,  the  most  success- 
ful American  film  distributor  of  his  time,  was  acting 
as  Urban's  representative  over  here ;  and  it  was  Kleine 
who  combined  the  Urban  output  with  used  films  of 
the  leading  New  York  and  Chicago  theatrical  pro- 
ducers, to  make  the  thousand  subjects  oflfered  in  1910 
to  the  New  York  City  Board  of  Education.  The  edu- 
cator chiefly  concerned  on  this  occasion  was  William 
H.  Maxwell,  superintendent  of  the  Board,  and  a  fav- 
orite target  for  contemporaneous  newspaper  cartoon- 
ists and  editorial  writers  for  his  so-called  "fads  and 
fancies"  in  elementary  teachng.  This  earnest  gentle- 
man and  scholar  thus  also  was  a  pioneer  in  visual  edu- 
cation. Unhappily  he  did  not  live  to  witness  the  pres- 
ent fruition ;  he  has  been  gone  from  our  midst  for 
upwards  of  twenty  years.  For  various  reasons  Max- 
well and  his  associates  were  unable  to  avail  themselves 
quickly  of  the  Kleine  proposal  to  supply  the  schools — 
no  doubt  largely  because  the  pictures  were  not  really 
pedagogically  suitable ;  but  the  circumstance  was  wide- 
ly and  favorably  reported,  and  the  Kleine  catalogue  of 


the  historic  thousand,  being  printed  for  distribution 
to  teachers,  surely  helped  to  pave  the  way  for  the  pic-j 
ture  services  that  now  flourish. 

Another  reason  for  calling  1910  the  starting  dat^ 
of  the  non-theatrical  field  in  America,  is  that  in  tha 
year  the  Motion  Picture  Patents  Company,  that  fol 
a  while  monopolized  the  essential  devices  for  photol 
graphing  and  exhibiting  films  in  this  country,  forbadd 
ths  showing  of  advertising  films  publicly  in  anj 
theatre.  The  theatres  disregarded  this  ban — but  that'J 
another   story. 

The  outp'.t,  of  what  we  now  consider  educationa 
film  material,  in  those  early  years  was  probably  mucS 
greater  than  it  is  today,  for  a  very  popular  number" 
then  on  the  theatrical  program  was  what  was  known 
as  the  "split"  reel.  One  reel,  running  about  fifteen 
minutes,  was  then  the  usual  extreme  limit  of  any  sub- 
ject ;  and  the  split  consisted  of  one-half  story  and  the 
other  half  an  "educational"  item.  Another  place  for 
documentary  material  was  the  newsreel — unknown  in 
this  coimtry  as  a  regular  release  until  1910,  when  the 
"Pathe  News"  was  brought  from  Paris.  And  1910,  of 
course,  is  the  date  when  begin  the  seven  stages  proper 
of  non-theatrical  growing  pains. 
First  Period 
George  Kleine's  interesting  pioneer  eff'ort  to  or- 
ganize the  non-theatrical  field  was  based  on  a  sincere 
but  now  outworn  conception  of  the  church  or  school 
show  as  a  form  of  salvage  for  old  theatrical  films. 
Nevertheless,  it  served  through  the  first  period  to 
stimulate  the  manufacture  of  lower-priced,  non-pro- 
fessional projection  equipment,  and  to  provide  a  boun- 
tiful supply  of  the  sort  of  pictures  that  have  been 
mentioned. 

Second  Period 

In  the  second  period,  that  of  the  AX'orld  \\'ar,  began 
the  needed  coordination.  Simultaneously  with  the  call 
for  troops,  the  Government  declared  a  sore  need  of 
entertainment  of  all  approved  shots  for  the  camps. 
Motion  pictures,  obviously,  were  in  especial  demand. 
They  were  needed  not  only  for  the  American  soliders 
but  for  those  of  the  Allies,  because  in  the  countries 
abroad  the  prosecution  of  the  war  since  two  years  be- 
fore the  United  States  came  into  it,  had  virtually  ended 
the  production  there  of  entertainment  subjects.  Amer- 
ican producers,  who  therefore  dominated  the  world 
industry  wanted  to  cooperate  with  the  United  State.'. 
Government  in  this  matter,  although,  at  the  same  time, 
it  was  neither  practicable  nor  advisable  for  them  to 
turn  over  at  once  to  Uncle  Sam  the  product  currently 
emerging  from  their  studios.  The  older  films,  that  al- 
ready had  served  the  theatrical  purpose  for  which  they 
had  been  designed,  were  another  matter ;  and  as  these 
survived  most  conveniently  in  the  unorganized  and 
rather  chaotic  non-theatrical  field,  that  was  the  supply 
garnered  in  the  main  for  this  emergency  need. 

The  dominating  figure  at  this  time  was  a  young 
Bostonian,  a  former  teacher,  Warren  D.  Foster.  He 
had  a  small  business  of  supplying  non-theatrical  films 


I 


]une,  19}6 

from  an  office  in  Boston  not  far  from  Copley  Square. 
But  he  also  had  an  idea,  and  executive  capacity  for 
carrying  it  out.  He  undertook  for  the  Government  the 
huge  work  of  assemhling-  the  needed  material  and  of 
forming  and  operating  the  vast  machine  required  to 
distribute,  exhibit  and  to  care  for  it.  Scarcely  any  film 
of  non-theatrical  value  in  existence  in  those  troubled 
years  escaped  his  collection.  Statistics  in  the  sad  spring 
of  1918  show  that  Community  Motion  Pictures  Bu- 
reau— this  being  the  general  name  of  his  division — 
was  providing  7.000  thousand- foot  reels  weekly  to  the 
U.  S.  cantonments,  and  100  reels  every  seven  days  to 
the  camps  in  France,  which  were  already  served 
through  the  same  agency  by  1,500  reels  in  constant 
circulation.  Provision  was  made  also  for  the  ships ;  and 
still  other  stocks  gave  the  Allied  armies  most  of  their 
picture  su])plies. 

Third   Period 

When  the  War  mercifully  ended,  the  overseas  pro- 
jection equipment  was  in  large  part  returned  to  Amer- 
ica. Much  of  it  was  put  on  public  sale  at  junk  prices 
in  an  abandoned  New  York  department  store.  Many 
a  church  and  many  a  school  in  America,  therefore,  that 
previously  had  been  unable  to  consider  this  most 
luxurious  factor  in  visual  education,  obtained  its 
clumsy  old  projector  cheaply  from  that  source — in  the 
shopping  rotunda  of  what  remained  of  Siegel  and 
Cooper. 

So  the  inventory  days,  w-hen  Uncle  Sam  began  tak- 
ing stock  for  a  return  to  peacetime  problems,  found 
the  Government  with  about  4,000  reels  of  usable  non- 
theatrical  material.  But,  with  the  drain  on  the  Treas- 
ury for  so  many  rehabilitation  projects,  it  became  quite 
impossible  to  secure  a  Congressional  appropriation  for 
its  care  and  active  distribution.  The  difficulty  lingered 
until  1920.  Then  a  happy  solution  was  found  when 
seventy-five  extension  departments  of  State  univer- 
sities, normal  schools  and  other  reputable  educational 
institutions,  agreed  each  to  take  a  share  of  the  store 
of  films,  and  to  make  them  available  to  the  public  in 
their  respective  areas  in  accordance  wth  the  approved 
Government  plan  of  service.  A  hundred  and  thirty-five 
reels  was  the  average  original  lot  received  by  each 
center.  The  local  bases  of  supply  thus  authoritatively 
established,  other  film  collections,  rental  and  free, 
rapidly  came  into  their  hands  for  distribution. 

Warren  Foster  tried  valiantly  to  carry  Community 
Motion  Picture  Bureau  over  into  civilian  life;  but  its 
activities  dw^indled  away.  Out  of  the  wartime  structure, 
however,  emerged  and  flourished  the  Y.  M.  C.  A.  Mo- 
tion Picture  Bureau  which  had  worked,  under  its 
present  indefatigable  head,  George  J.  Zehrung,  in  co- 
operation w'ith   Foster. 

The  conspicuous  development  in  the  third  period  is 
in  the  rise  of  the  small  producer  specializing  in  pro- 
ductions made  expressly  to  serve  the  non-theatrical 
market.  As  history  shows  him